Sun, 25 February 2018
Since Chris and Lon were in Sofia for a week to hang out at our headquarters in snowy Sofia we decided to sit down with the man behind the V in V-Ray. Vlado, no stranger to the CG Garage, spends some time with Chris to give our listeners a better idea about all the work going into the next version of V-Ray, and beyond. Many people already know a bit about these features, but there are also many other things you may not know about.
We discuss why the next version of V-Ray is actually called Next, how the actual core of V-Ray is being completely revamped, as well as some of the many exciting new features. We also tease some new features that are not still coming up such as a complete redesign of the frame buffer, and our very own cloud service, called V-Ray Cloud.
V-Ray Next beta is available today to registered V-Ray users of V-Ray for 3dsmax. check out all the following links for more information and more in depth looks at some of those upcoming features.
Sun, 18 February 2018
This week’s CG Garage is a special episode because I got a chance to sit down with Alex McDowell, the founder of World Building Institute and Experimental Design. You might have seen his name pop up in Fast Company and Wired from time to time, and it’s no mystery why they want to talk to him. On top of his current roles, which we’ll get into in a minute, this is a man who helped set up the Sex Pistols first gig, made music videos with Depeche Mode, led production designs on Fight Club, and designed the entire world, including all of its rules and attributes, for Minority Report. And it’s in that last point, world building, where he can really offer all of us - architects, filmmakers and general 3D artists- some serious food for thought.
Instead of thinking about stories and digital experiences like linear elements, Alex approaches his designs spherically, like you would a VR space. He asks questions like “What are the conditions of the world and what is going to drive it forward?” and then figures out how elements like different types of humans will define or navigate this environment. An elderly person, for instance, could live in the same world as a Olympian, but endure radically different challenges. And from what Alex has learned, as the challenges and context around your focal points change, so do the stories you can tell. With world building, storytellers are encouraged to consider more possibilities, which in turn, open up a greater understanding of the environments and characters they create.
At first glance, you may think this only works for feature films. But consider the 3D world’s most common thread: storytelling. Architects also tell visual stories full of context and character, only they do it through spaces. So imagine what happens when architects apply world building concepts to their art. Designs can be influenced by wider factors than form and function, including how different types of people will navigate the space. Using these concepts, architects can also consider how the mechanisms of the city, or even society at large, will change the experience they are offering, even if that change resides at a granular or subconscious level. As elements are defined, they compound, helping an artist (or your team) gain an elevated knowledge of any design that incorporates narrative.
It really can be quite powerful, and like I said, is not limited to a single field. I hope you’ll give it a shot.
Sun, 11 February 2018
They’re back! Star Wars aficionados, film buffs and visual effects artists Dan Thron and Justin Fields join Chris for the second part of this follow-up to the original, divisive Last Jedi podcast. This episode continues to pore over The Last Jedi to work out if the good bits outweigh the bad, and whether director Rian Johnson can shake off the franchise’s excessive baggage and build a fresh universe for a new audience.
It’s a podcast that packs as many twists, crises of confidence and character arcs as the movie itself, and Dan, Justin and Chris discover their opinions are more in line than they first thought. They also delve into the other Star Wars movies, and films including Pulp Fiction, Blade Runner 2049, The Goonies and Justice League. You’ll find out what effects industry acronym CBB stands for, a surefire way to tell when Yoda is being goofy, and how Hitchcock’s The Birds cleverly creates a sense of tension and unease.
Dan will return for another discussion of a classic film. As for young Justin, we’ll watch his career with great interest.
Direct download: CGGarage_Podcast161_DanThron_JustinFields_part2.mp3
Category:Movies -- posted at: 9:01pm PST
Sun, 4 February 2018
On-set data integration people fill a crucial role in the modern movie making process. They capture reference materials such as HDR images, camera data, and reference photography so effects artists can ensure their CG creations fit perfectly into the shot.
As data integration lead Viki Chan explains, the job combines the glamor of traveling the world to work with a-list actors and directors, with 17-hour days and having to stay away from home for months at a time. She breaks down what her job involves, whether it’s placing tracking markers on the set, negotiating with ADs and gaffers, or minimizing the amount of CG involved on a production.
Viki comes across as friendly and professional – exactly the sort of person you’d want to work with on a chaotic movie set. And she’s got some great anecdotes about Harrison Ford and Brad Pitt.