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Found 32 results

  1. Hey guys, soon making a corporate and require VFX. This is the first time I have needed a VFX team. What is the process? Collect footage > VFX > Colour grade? Or collect footage > Colour grade > VFX? Thanks in advance!
  2. Hey everyone, I am a film director, actor and visual effects artist. I have spent the last ten months creating and saving up a year worth of YouTube action/comedy short videos just like the current big YouTube stars (FreddieW, Corridor Digital, Julian Smith). Videos release every Monday. Please consider checking out my videos and subscribing! Thanks! YouTube channel: https://www.youtube.com/user/TheDragoonLord Yours faithfully, -Henry
  3. We are a private and non profit Fan-Film Project, based on the popular TV series Stargate. Our Fan-Film is produced in Brandenburg (East Germany), near Frankfurt an der Oder. We are currently looking for reinforcement in the area of Post-Processing. These include: - 4K Textures - 3D Matte Painting - Compositing - Rotoscoping - Color Grading The whole film is cut a length of 25 minutes and is based in two languages ​​German and English. Facebook: http://www.facebook.com/stargatesf.de A Premiere for the Film is planned on the Fedcon in Düsseldorf. (http://www.fedcon.de/en/) The Deadline for the Project we have planned for The 19 of May. The Project achieved no profits with this Film. This Film is being implemented by Fans for Fans. A fee can not be paid, that Material can be later use as a Reel and of course there are Credits in the Film. This Film is then nationwide and around the World go around in the Scifiction scene. That's why I created the film bilingual in German and English. If you are interested in helping us, Contact us here or under the following email adress:puerto-tabako@web.de The Special Forces Team
  4. Pictorvision has developed a 6 Red Epic array for shooting very high-resolution Aerial VFX plate shots. It shot a major film (that of course we can't talk about) over a months time and worked even better than we hoped. Now we're showing it for the first time publicly at an open house / demo next Wednesday Oct 30th from 1-6 PM. The official invite and sign in can be found at: http://pictorvision.givezooks.com/ev...-demonstration Key Specs: 6 Red Epics shooting 5K resolution- 3 Epics across x 2 Red Epics high = 15K camera resolution (12K resolution when overlap is accounted for) Total resolution is 82 Megapixels 46 Megapixel panoramic images when stitched Field of view: 140 degrees horizontal, 60 degrees vertical Overlap is 1650 pixels horizontal and 530 pixels vertical. Once again Pictorvision is going above and beyond....
  5. Hello everyone! I'm planning to do my first chromakey shooting, and, essentially, I've got couple of questions 1. Do I need to use any of glass filters to enhance the incoming quality of image ( I mean like polarising filters, when shooting outside ) 2. I suggest that after litting the chroma, I might get green reflections on all objects within a frame - is this suggestion correct ? If yes - then my first question, but a bit refrased - how can I cut all the unwanted color shifts and casts ? Main object's color is going to be medium gray/black,
  6. I'm a DP and lighting tech by trade, so forgive me for what seems to me like kind of a noob question. I'm trying to rough out a round trip (shot-edit-vfx-color) for a short trailer with some significant CGI work--basically trying to knit together the resources of 2-3 freelancers, keeping image integrity, maintaining a reasonable turnaround time, and all the while keeping us from pulling our hair out. We'd be shooting Epic raw. I will have a post supervisor/coeditor, but I want to make sure I have a little more background before we sit down to do this for real. The post sup/editor is on Mac, and I'd likely be doing the rough assemble in an offline edit--on my not-yet-built windows machine with Adobe premiere (or maybe even lightworks--not that I need to make this more difficult by learning new software). I suppose the picture edit goes back to the post sup's machine to conform, and then from him, to the animator for compositing. Or does it? Our animator is in Windows 7. She models in Maya, and composites in AE. While we'll be delivering in 1080P, I'm really pushing for an all 4k workflow if possible. Then (I think) it has to go back to the post supervisor's Mac pro for final color, and for the deliverables (a youtube video, and cDNG). --after speaking to the animator, I realized I don't know how to deliver footage to her for compositing. The post sup is pretty much a one man editorial department for a small ad company, so he doesn't have to bridge a bunch of contractors with different filesystems or codecs in his day to day. A simple flowchart or list with the important bulletpoints would help, and I'll reveal my ignorance through follow up questions as necessary. Sorry again if this is nonsense, I'm a lot better with things that have three wires and a halogen bulb. Best, Matt
  7. The International Cinematographers Guild (IATSE Local 600) will play a prominent role at the upcoming National Association of Broadcasters Show in Las Vegas. They will partner with the NAB for a Creative Master Series session in the Convention Center’s South Hall 220 on Monday, April 8, at 4:15 p.m., where filmmakers who worked on the hit NBC drama Revolution will discuss how two Cinematographers, their on-set camera departments, and CGI artists have helped make Revolution look like no other episodic on the small screen. Title of the session is, “You say you want a Revolution? How Cinematographers and VFX collaborate on the hit NBC drama.” Participants will include David Moxness, CSC, Director of Photography, Jay Worth, VFX Supervisor, Geoff Garrett, Associate Producer who oversees post production and Paul Grellong, Supervising Producer. David Geffner, Executive Editor of ICG Magazine, will moderate. This will be followed by a session titled “Emerging Technologies and Toolsets: Emerging Cinematographers Talk with Technology Companies,” to be held at 5:30 p.m. in room S219. Emerging Cinematographer Award-winners will discuss the benefits and hurdles for successful real-world application of the latest technologies. Participants are Steve Tiffen of the Tiffen company, Tim Smith, Canon USA, Daron Keet, 2012 ECA honoree and Pete Villani, 2012 honoree. Steven Poster, ASC, president of the ICG, will moderate. A cocktail reception honoring ECA winners will follow. These awards are given to ICG members who have demonstrated exceptional skill, even though they are not yet in the Director of Photography classification. Last year only 10, of the more than 100 films submitted, were selected. contact: rick@publicity4all.com
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