Tim Burton’s re-imagining of Alice in Wonderland features a cast of real and digital characters, plus some that are in-between. One such character is the Red Queen (Helena Bonham Carter) who appears on screen with an enormous and imposing head care of visual effects by Sony Pictures Imageworks. In this interview we focus on the Red Queen shots by talking to Carey Villegas, one of Imageworks’ visual effects supervisors on the film.

fxg: How did the Red Queen’s character come to have such a large head?
Villegas: Well, Tim Burton’s an artist himself, so he was always sketching designs for the characters. His style was to draw them with really large heads and eyes. So we wanted to incorporate his drawing style into the actors playing these characters. For the Red Queen, we really wanted to give her this caricatured feel – this enlarged head and a really tiny cinched in waist.

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Watch the list at AETuts..

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This is a really exciting year for Adobe Professional Services as we are growing! We are building out a Solution Center in San Jose, which requires a team of talented Software Engineers and Quality Engineers. You will be part of a co-located team in a fantastic office space that has been purposely designed to foster teaming and collaboration. You will get the opportunity to work on some of the most exciting and challenging projects that fuse user-experience design with great technology implementation. During my time at Adobe I have had the opportunity to work on projects for clients such as NATO where we built a Mission Support System for AWACS that supports the real-time synchronization of map data.

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At some time or another we have all seen it – neighbourhood walls with old and deprecated graffiti or, just as common, you may have seen some flyers or posters that have been stuck for so long on these walls that they start to peel and hang on by their edges. It is this effect that is recreated in this tutorial. Rather than use typical grafitti or a common poster this tutorial opted to combine the two, and have old and peeling posterized letters graffiti slowly peeling and falling from the wall.

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Effects house, CIS Vancouver used mocha assist in the process of applying "digital makeup", cuts & bruises to the rugby teams of "Invictus".

“mocha was able to quickly and accurately track large patches of screen area with sometimes little or no detail. With the ability to run concurrent multiple tracks on the same shot, I was extremely happy at how quickly we could start in on each scene and get shots up for review.” – Bruce Woloshyn, CIS Vancouver

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Tracking long pans where search areas go off screen can be quite difficult to solve! Martin Brennand of Imagineer created this informative mocha tutorial covering a unique tip: unlinking the track layer. Martin quickly solves a difficult track and finishes the composite in After Effects with help from Red Giant Warp and the mocha shape plug-in.

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cmiVFX Releases Houdini Procedural Road Creation vol. 3, Tunnel Building and Road Flattening High Definition Training Videos for the Visual Effects Industry.

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Procedural Inc. today announced that CityEngine received the official 3Dconnexion Certification. Applications that receive 3Dconnexion Certification have been tested in 3Dconnexion’s labs and have successfully fulfilled all requirements to receive this distinction.

source@procedural

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During a preview of Microsoft’s annual TechFest event this week, the company’s researchers showed a technology dubbed Project Gustav, which attempts to replicate the experience of painting without all the mess. As per usual, no word on whether or when this might be made into a product, but as you can tell from the video, it was probably the furthest along and most fully realized of the various prototypes we saw.

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Overview

Substance Air is Allegorithmic’s new generation texturing middleware solution. It was designed to help users create and customize a new kind of textures: lightweight, dynamic and infinitely versatile. Replacing ProFX Online, Substance Air includes Substance Editor, a new authoring tool with unique creative possibilities, and a revamped run-time engine designed to create and generate high-quality textures that can fit in only a few kilobytes.

A new generation of textures

The textures created with Substance Air offer much more advantages and possibilities than traditional bitmaps. While the latter are static and heavy by nature, the textures made with Substance Editor are extremely light and dynamic.

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