If you’re shooting videos, you can find both practical effects and CGI useful. But combining them can give you limitless creative possibilities. In this video, Liran Friedman of Artlist will show you how you can bring practical visual effects and CGI together and shoot an original and fun video.
This is a topic that I’ve seen come up every few months in some form or another. Removing photographers from the process of image creation. And every time CG makes some incremental improvement, getting closer to the appearance of reality, I hear doom and gloom from photographers that their future is in jeopardy and “they won’t even need photographers anymore in a couple of years”.
And while that future might already be here for some product photography, it’s not quite happened for human subjects. Yet. But we may not be far off, if Imma’s Instagram account is anything to go by. Because Imma is actually not human. She’s a CG “virtual model”, who has mostly managed to claw her way out of Uncanny Valley.
Russian film studio Scandinava makes insane effects that will make you think are CGI – but they’re actually all real. Using practical VFX, a robotic arm, miniature models and other gear, these artists make the real objects look like they were animated. Check out how they do it in the video below.
Gatorade has released a commercial that features an animated 3D man made of water. Nothing special, you may think. But the man was literally made of water, without the use of CGI.
The “waterman” is running, jumping and kicking, making you wonder “what if your water was as active as you.” They have also released a short BTS video, showing just how much effort they have invested in making this fantastic advertisement.
Computer generated graphics has been in our lives for quite a while now. We can’t accurately predict what it will bring in 35 years, but we can go that far into the past and see where it all began.
This video from BBC’s show Tomorrow’s World demonstrates the beginnings of CGI in 1982. The witty presenter Michael Rodd explains and illustrates what it looks like to transform a 2D image into a 3D model on the television screen. And it’s pretty impressive to watch the very beginning of what’s so common nowadays.
We are only a week away from the official release of Rogue One, and all Star Wars fans are curious to see what the new film will bring. A new featurette shows some behind the scenes moments, and reveals that Gareth Edwards created creatures much closer to the George Lucas’ original vision.
If you hate the way you look in selfies, here’s some good news for you.
Firstly you are not alone. Big noses, squashed ears and weak chins make selfies looks less attractive (maybe this is why duck face is so common). Secondly, this may change as researchers at Princeton University developed an algorithm to convert selfies into long lens portraits (and vice versa).
Their method uses an automated mesh places on a photo, which calculates the face warp (and then adjusts it).
Good morning guys! JP here again with another image breakdown. I’ve been friends with Mario for quite some time now and his recent work just blew me away, so I wanted to get in touch with him and get a step through of his some of his latest work.
Today he’ll be sharing how he blended CGI into his composition to make an album cover for the artist Carlos Contra. Take it away Mario! *points to Mario*.
Models, Photographers, MUA’s – The computer is out to get your jobs!
In recent years, we’ve seen how photography is being taken out of catalogs. IKEA was one of the first to embrace 3D rendering, with about 75% of its catalog being computer generated. Now it seems that fashion photography is following the same footprints.
Looklet is a company that does to fashion catalogs what IKEA did to furniture catalogs. Almost.
The video description explains how a fashion house can focus on shooting clothes while Looklet will superimpose them on models (of your choice), provide backdrops and create a finished image.
Out of the top ten highest-grossing films of 2014, nine were either sequels or reboots for franchises already long-established – the remaining film was Christopher Nolan’s Interstellar. With the current film industry an unarguable golden age for comic book adaptations, it’s become customary for most studios to play it safe and rely on audience familiarity to sell their productions. And it’s unfortunate – original stories like Edge of Tomorrow end up suffering in sales as a result while at the same time gaining critical acclaim (Edge of Tomorrow was even retitled Live Die Repeat around the time of its home video release in an attempt to re-market the film).
Given the criticisms warranted towards Interstellar (Oh man, that dialogue…), it was still refreshing to see a new, original, and all-around good science fiction film become a box-office blockbuster in the middle of Oscar season. For directors not as well-known as Nolan, making a film like that is a particular risk when taking sales into account; back in 2013, Director Joseph Kosinski took that exact risk with the release of his second film. After his debut with Tron: Legacy, Kosinski brought the cinematographer Claudio Miranda on board once more for a story he’d been working on since 2005. The result was a film released eight years later, titled Oblivion.