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Showing results for tags '2D'.
Found 15 results
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Specialists who can generate variety of moving artistic backgrounds transitioning one into another. Also, 2D specialist who is good in moving animals. Samples are attached. s_4237.webp
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Hi, Check out my new Painter tool that lets you paint seamlessly on an image in the viewport! https://techie.gumroad.com/l/painter
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Hello guys , I cant find an attribute or something in vellum to make it avoid movement in one particular angle or i'm missing it. I want to simulate a spring in a 2d domain I only want to run the simulation in Z and X and avoid movement in Y axis Iwant to prevent this from happening: Is it possible ? thank you all in advance for your help!!
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HI.i want to reach this effect like this first gif shows. i have get this like second gif shows. i attach my sence file.hope you guys could give me some suggestion. thanks in advace. 2dBBD.hip b
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Hi there, I have gone through the forum and I could not find a solution to this problem, so please forgive me if it exists. The sad part is I totally figured this out months ago through trial and error and never saved the file somewhere that I could revisit it apparently ( silly me ! ). So I have made some flat tapered grids that represent disco lights ( light cones but flat ) and have coloured and animated them rotating with sin() and added a camera. Because this is for a 2D style project, there is no shading or lights required. The shader is literally just the Cd attribute plugged into emission with random colours per prim. What I would like to do is use COPS to render my scene as it's way faster to do this for something that has no real lighting. I just cannot figure out how to get : 1) the same view as the camera, but in cops 2) the colour information to show up. It's always cops that trips me up. lol. Any help is greatly appreciated.
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Hi; I tried to use boolean SOP on some 2D shapes, but the resulting geometry is not that clean. How can I get a clean result without unnecessary polygons? Thanks. Boolean2D.hip
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Hello! So recently I saw two new videos that were produced by FORTICHE, the same company who produced the League of Legends video for Imagine Dragons' "Warriors" a few years back. While that video was impressive, these two newer ones are outstanding. I am sure it takes a lot of money, time, and work to produce anything in this style, but I just adore it and would like to create something similar one day. Does anyone have and information, theories, or even tutorials on how they achieved the look? (I know they implement a lot of 2D elements along with the 3d but I'm curious about the 3D part) Also I have some questions about hair. I have a basic understanding of how hair works with guide lines and such. What I don't understand is how they make the hair so unique, and held up, but still have it be rendered with individual strands. Also, for the k-pop video, how do they make the hair seem so flatly shaded over certain sections but still individual strands? Here are some good frames that showcase mostly 2D esk 3D They also have a really nice flat shading effect on the hay which I am really curious about. The main shine for this looks hand drawn over but the rest of the jewel looks half painted and half actually shaded. This jacket looks really 2D as well, curious how they got the simulated lighting on it to look so drawn. Here is where we start talking about the hair. The hair in this frame is very artistically styled. It may be a basic question but is that just achieved through guide hairs? How are the guide hairs made to not fall due to gravity but still simulate like actual hair? It doesn't just fall down but acts like it is constantly being pulled back to a certain hairstyle, are volumes used? These two shots exemplify what I mean by the hair looks like it is rendered in layers. The hair is made up of individual strands but its as though when they are grouped together they are instead rendered as one entity. Right under the thing south west of her ear you can see the shadows affecting the individual hairs but everything looks so held together, there are very little stray hairs. Here is the hair in motion. Sorry if this post is long, but if someone could help explain how companies get hair beyond just an undercut or simple part, that would be great. y2mate.com_-_kda_popstars_ft_madison_beer_gi_dle_jaira_burns_official_music_video_league_of_legends_UOxkGD8qRB4_1080p.mp4
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The Embassy VFX is a Canadian, Oscar-nominated production house, specializing in live-action production, post-production, and animation for feature films & commercials. We are currently looking for a Senior Compositor to join our team for work on upcoming feature, television and commercial work. We require someone who is able to work in a fast-paced environment to deliver an extremely high level of work. Please note: At this time we are accepting applications only from those artists who are legally eligible to work in Canada (ie Canadian citizen, permanent resident, or currently hold a work permit). Click here to apply: https://the-embassy-vfx-inc.hiringthing.com/job/25436/senior-compositor-contract-position Principle Duties & Responsibilities Establish certain looks and/or solve particular design or effects challenges for key visual effects shots Full shot compositing including paint and roto when required Working within studio best practices, follow guidelines, and keep scenes clean and organized Prioritize and revise work based on direction from supervisors Meet project milestones and deadlines on time Education, Experience, and Skills Required Strong knowledge of compositing workflow and other major aspects of post-production Possess a keen eye for colour and colour matching Ideal candidate will have 7+ years industry experience in commercials, film or TV Strong understanding of multiple aspects of the VFX pipeline Be comfortable working with clients Excellent communication skills We Offer Competitive salary based on experience A fun and collaborative environment Emphasis on work/life balance Ample cross-training opportunities Dog-friendly workplace
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The Embassy VFX is a Canadian, Oscar-nominated production house, specializing in live-action production, post-production, and animation for feature films & commercials. If you have an advanced knowledge of Nuke and other compositing software, a creative eye and an insight into emerging technology, please read on. We require someone who is able to work autonomously in a fast paced environment to deliver an extremely high level of work. You should be comfortable working with clients, have a keen eye for detail, excellent communication skills and technical knowledge and also have relevant experience in a film or TV environment. We are ideally looking for someone who can provide creative direction and has the experience of leading a team through all phases of production. Reels must be accompanied with a detailed shot breakdown. Please note: At this time we are considering applications only from those artists who are legally eligible to work in Canada (ie Canadian citizen, permanent resident, or currently hold a work permit). Click here to apply: https://the-embassy-vfx-inc.hiringthing.com/job/41208/compositing-supervisor Principle Duties and Responsibilities Establish certain looks or solves particular design or effects challenges for the show Collaborate with your team to share knowledge and techniques Solve technical challenges and recognizes areas for improvement Pitching and quoting for new work with the production team Liaise with production team to assign shots, monitor throughput and schedule deliveries Attend shoots and assist vfx supervisors with their duties Oversee recruiting, mentoring and training of artists in your teams Supervise quality control on all shots leaving the facility Composite shots when required Set up and manage the color pipeline for each show Education, Experience, and Skills Required Minimum 10+ years photoreal visual effects compositing experience in film, TV or commercials At least 2+ years experience in a leadership or supervisory role Expert with Nuke. Knowledge of other compositing, finishing & editorial tools an asset Experience in a Linux & OSX environment Should possess a keen eye for color and color matching Should have strong knowledge of compositing workflow and other major aspects of post production Understanding of film & video broadcast standards and video & graphics formats Understanding of the technical aspects of pipeline development e.g. python, gizmo’s etc. Good understanding of editorial and color files and formats e.g. EDL, XML AAF, CDL, BLG etc. Outstanding organizational skills and the ability to multitask Ability to take direction positively, lead a team and thrive under the pressure of tight deadlines Committed to maintaining our client base Team oriented, and able to inspire a collaborative working environment and above all … have a great sense of humour! We Offer Competitive salary based on experience Ample cross-training opportunities A fun and collaborative environment Emphasis on work/life balance Dog-friendly workplace
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I just wanted to say hello and how much I'm enjoying teaching myself Houdini! - I came to it by finding work colleagues enjoyed my Powerpoint presentations and thought I could make some fun animations for youtube during my spare time. I can't draw too well and so I use a lot of graphics from CC0 images. Here's a playlist of what you can do in Powerpoint with a lot of jiggery pokery: Powerpoint is good and you can get instant good results but it started to become a bit limiting and so I moved on to Anime Studio Pro which is a 2D animation Package that includes Bone rigging - here's a bigger playlist: My main interest is telling stories and so I'm currently learning Houdini and figure out ways that I can use it to tell more stories about old Grannies and Space Aliens!
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The Embassy is a Canadian, Oscar-nominated production house, specializing in live-action production, post-production, and animation for feature films & commercials. We are currently looking for a Senior Compositor to join our team for work on upcoming feature, television and commercial work. We require someone who is able to work in a fast-paced environment to deliver an extremely high level of work. Please apply through this link: https://the-embassy-vfx-inc.hiringthing.com/job/25436/senior-compositor-contract-position Please note: at this time we are accepting applications only from those artists who are legally eligible to work in Canada. (ie Canadian citizen, permanent resident, or currently hold a work permit.) Duties Establish certain looks and/or solve particular design or effects challenges for key visual effects shots. Full shot compositing including paint and roto when required. Working within studio best practices, follow guidelines, and keep scenes clean and organized. Prioritize and revise work based on direction from supervisors. Meet project milestones and deadlines on time. Requirements Strong knowledge of compositing workflow and other major aspects of post-production. Possess a keen eye for colour and colour matching. Ideal candidate will have 7+ years industry experience in commercials, film or TV. Strong understanding of multiple aspects of the VFX pipeline. Be comfortable working with clients. Excellent communications skills. We offer Competitive salary based on experience A fun and collaborative environment Emphasis on work/life balance Ample cross-training opportunities Dog-friendly workplace
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Hello,I'm attempting to create the slitscan/timeshift effect. I'm creating a vector array in a for loop, each loop has an attrib from map and a wrangle that appends Cd to a vector array. It works when the attrib from map is always reading from the same file. When I change the attrib from map file read expression to anything that has to do with $F or the meta nodes iteration Houdini crashes. I have a test scene that has documentation and even nodes setup to create test frames to work with.If it is a matter of the way that multiple files cannot be read at once please let me know. If someone knows of a better way to read from multiple files at once and/or achieve this effect please let me know. I'm aware that after effects has this effect and uses gradients to determine which frame to look up color from. While that method is great, I'd like to be able to write the gradients/lookups in vex to achieve results. Any help greatly appreciated. -T concept_025_slitScan_v001.hiplc -
Got a DA DNA? Join Moment Factory, THE multimedia leader! julie@polyglotgroup.eu https://goo.gl/dOm7t4 -
Hi, recently I watched this breakdown. I am not sure that I understood how author did collisions with fluids. It seems to me like he generated motion vectors in compositing application (Nuke's vector generator?) and then somehow transferred it to houdini where he generated velocity field based on those vectors? But I don't understand how one can transfer 2D motion data from one camera to 3D. It isn't possible, is it? I'd say that for such collisions proxy geometry must be animated. Like in this video (1:00) Do you have experience with integrating real footage collisions with fluid sims? Are there any workflows that can speed up this process? Thanks, Juraj
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Learn more about Houdini is playing a growing role in game development in Quebec-based Frima Studio. Houdini for Games - Frima Studio
