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This is a similar process to the old school way of making looping particles with SuperSpray. You start with a MAIN particle system that starts at frame 0 and has all of it’s particles off the screen by frame 100. You then make two exact copies of that particle system. Shift the Birth params of one to Start/Stop at -50/50. The other to Start/Stop at 50/150. Then you overlay the two of them. Because the Midpoint of the first (that falls at frame 0) is the exact copy of the midpoint of the second (that falls at frame 100) you get a looping particle.

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Imagineer’s Martin Brennand continues his recent tutorial with workflow videos detailing Nuke and After Effects import.

Part 1: mocha v2 Quick Start tutorial

Part 2: Nuke workflow tutorial

Part 3: After Effects workflow tutorial

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“The biggest challenge was replacing the actors’ faces with the band members’ and creating the most realistic, seamless look possible.  mocha worked with extreme precision in every shot.” 

read more

watch now shot breakdown before/after

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In Part 1, Andres shows how mocha speeds up his roto workflow and exporting mocha shape to Nuke. In Part 2 he covers Nuke stereoscopic setup, mocha shape import and and intro to depth matting.

Part 1: mocha roto and export

Part 2: Nuke import and stereo

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BBC’s Horizon looks at ILM and visual effects. This show is from 1985 and is a true gem. I thought it would be important and educational to show the interesting bits of the show, focusing on subjects such as optical printing, matte painting and even rotoscoping.

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As a celebration of this event, visual designer Charis Tsevis has designed, as a personal experiment, a series of posters that have been greatly inspired by the great African pattern heritage and contemporary football culture. They are his personal journey exploring Africa’s history and tradition, and have given him nothing but great pleasure and an endless lesson.

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Steve Wright is a senior visual effects artist and trainer with over 20 years of production experience creating digital effects for over 60 feature films, including three years working with the Digital Intermediate process. As a senior digital compositing artist and 2D Technical Director he has an unusual combination of both artistic and technical understanding of Digital Compositing and Digital Intermediate. His extensive film credits include "Ray", "Ali", "Traffic", "Air Force One", "Batman & Robin", and many, many others. He is also a public speaker, published author, writer, and a widely recognized expert in the digital effects industry.

Have a look at his website.

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www.youtube.com/watch?v=alPUekHjlO4

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www.youtube.com/watch?v=Ko5pMvZ2V_s

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