Here’s a cute lil animated short called “Snip” directed by Adam Koenig. I love when people are able to tell stories without words.
You can learn more about the film via the links below!
https://www.snipshortfilm.com/
Created by: Adam Koenig https://adamkoenig.website/
Jeb Cozby https://jebcozby.com/
Preet Uppal https://preetuppal.com/
Steven Jones https://www.jonessc.com
Diony Lopez http://dionylopez.com/
Music by Carlos Eiene https://www.insaneintherainmusic.com/
Award-winning creative studio Luma teamed up with Director Jon Watts and VFX Supervisor Janek Sirrs to deliver stunning visual effects work for eleven sequences in Spider-Man: Homecoming, which is being praised as the best Spider-Man movie to date.
Marvel’s fun new take on the friendliest superhero around features a standout villain that audiences can truly empathise with: the Vulture is a regular, street-level guy who turns to illegal activities to take care of his family. Luma worked on key sequences featuring the cunning Vulture, many of which required creating and animating an impressive and weighty CG Vulture wing-suit that goes toe-to-toe with a speedy Spider-Man.
PERFECTING THE VULTURE LANDING
In the beginning of the film, Adrian Toomes builds his alien technology empire after being fired from his previous blue-collar job. Eight years later, his guns are bigger and badder, he’s naturally grown greedier and his mechanical wing-suit is the size of a small airplane. He makes his first grand entrance into the lab as the ceiling door opens up, he spreads his wings and swoops onto his platform in a hard landing and smugly boasts that “business is good!â€
It was up to the Luma crew to create this epic landing scene, which required a full CG Vulture and landing platform with articulated arms. Luma used Vulture’s geometry from two other vendors on the show and incorporated that into their pipeline. “We were aiming to tie the suit and the warehouse into the same world to make it feel industrial and real, but also not as refined of a suit as Iron Man’s. The mood and contrasting raw metals of the wings helped bring Vulture’s suit into the same world as the setâ€, says CG Supervisor Andrew Zink.
Animators then brought the domineering Vulture to life, which proved to be a complicated thing: he is a dynamic tank that hovers over the ground, his two turbines are controlled by exoskeleton arms which act as the sole propulsors, so the amount of RPMs and the angles in which they lean creates a push and pull effect. Animators also had to consider his unique wing shape, flight trajectory and predatory poses to perfect his flight and fast landing.
THE ICONIC VULTURE GRAB
A rookie Spider-Man discovers Vulture’s henchmen selling alien technology to a wanting criminal and chases after their van as he runs through backyards, unapologetically destroying everything in his path (the scene is a parody of the famous Ferris Bueller’s Day Off “The Race Homeâ€). Vulture saves his henchmen as he violently swoops in and grabs Spider-Man in the same way a real vulture would grab its prey. He rapidly ascends into the sky travelling at a whopping 208 mph before dropping him into a lake.
To create this completely virtual sequence, “animators began blocking with simplistic Google Maps photography and drone photography to work out the aesthetics of what the surroundings would look likeâ€, recalled VFX Supervisor Kevin Souls. For Vulture’s character, animators tackled the challenge of animating the hefty wing-suit that, while also making sure it was dynamic enough to fight with a swift and speedy Spider-Man. “We like to ground our characters in real world physics, so our animators use a variety of Luma created tools to track speed, gravity and archs—it’s easier to bend the rules once you understand them,†explains Animation Supervisor Raphael A. Pimentel.
DAMAGE CONTROL
Luma worked on the first fight battle between Vulture and Spider-Man, where Spider-Man interrupts Vulture from stealing supplies from the Damage Control truck. Initially tasked with enhancing the sequence, Luma realized early on that it would be easier to recreate the sequence in full CG in order to add camera moves and to work with the portal (the alien technology that allows Vulture to travel through the roof of the truck). Since this was a close-up and constrained fight, animators had to ensure that Spider-Man looked weighty and in control, while also ensuring that the Vulture build was dynamic enough to fight with him.
Luma didn’t just create a stunning villain for Spider-Man: Homecoming, the studio’s varied scope of work in this action-packed blockbuster also included creating and animating a full CG Spider-Man for various sequences, the disintegration effect on Bryce’s character, the ATM sequence, and the Crime Fighting sequence where a rookie Spider-Man head outs into the city attempting to stop petty crime.
“This is definitely the proudest I’ve been of the crew that I work with. The passion and hard work they put into this film really shows the kind of talented people we have at Luma and how much care about the artistry of their work they haveâ€, says VFX Supervisor Brendan Seals.
Luma is currently working on Marvel’s Black Panther, Thor: Ragnarok and Disney’s A Wrinkle in Time.
CREDITS:
Facility:
Los Angeles
Date(s):Â ASAP
Contract Type:
Employee/Contract
Position Requirements:
Duties & Responsibilities:
You can view the entire piece here.
LONDON, UK – 12th May 2017 – With the release of its Statue project, London-based creative studio Saddington Baynes has created a frozen moment of a Muay Thai battle, utilising full-body 3D photo scans created in partnership with body-scanning experts FBFX.
Saddington Baynes is well-known for pushing the boundaries of technical innovation in the creative industry, establishing its R&D arm SBLabs to showcase this in-house ability. For Statue, SBLabs used advanced procedural displacement techniques, complex shaders and dynamic particle simulations to deliver a fierce fighting showcase. The results are already sweeping up accolades across the creative community, including a Platinum in the Creativity International Media & Interactive Design Awards.
James Digby-Jones, Executive Creative Director at Saddington Baynes, comments: “We wanted to create a project to showcase our expertise working with complex simulations and highly detailed 3D talent, while also demonstrating our imaginative storycraft and VFX capabilities. The Statue project quickly picked up a Platinum award and we’ve entered it into others. It’s a great piece that shows off a variety of high level skills, applicable to multiple market sectors.â€
Scanning and capture
To achieve unparalleled detail required meticulous planning. SBLabs blocked out early concepts in Cinema 4D to explore strong poses and the choreography and to direct the camera path.
SBLabs then approached SFX costume and 3D scanning specialists FBFX, who captured key moments of the Muay Thai battle in live action, as one at a time the combatants jumped and punched and kicked, all the while being captured as high resolution point clouds and image maps from multiple cameras. Besides being martial arts enthusiasts, both models were actually part of the Saddington Baynes team – a Production Assistant and a CG artist!
Andrew White, Creative Director at Saddington Baynes, comments: “FBFX helped us build separate scan captures in ZBrush with seamless results. They were a huge asset, delivering exactly what we needed in line with our visionâ€
Particle simulation
Alongside these scanned models, Statue also features complex Houdini simulations. The models land blows on each other, cracking open igneous husks to reveal the searing heat below. SBLabs ran a series of customised fragmentation and tessellation processes on the geometry with look development performed in Mantra.
Andrew White, Creative Director at Saddington Baynes, comments: “We found that by outputting some custom aov passes we could create a hot metal look inside Nuke. By using holdout mattes and base beauty elements, this gave us a great way to time and control the intensity of the heat effect.â€
Based out of London, Saddington Baynes has a long history of technical innovation. Besides being the original pioneers of digital retouching in 1991, Saddington Baynes were also one of the first production studios to harness the potential of CGI in-house. More recently, the team developed an Engagement Insights® service – the world-first use of neuroscience techniques to measure emotional impact of imagery. Recent commissions include Honda’s pan-European ‘Real View Test Drive’ campaign.
About Saddington Baynes
Saddington Baynes is a leading creative production agency that has produced premium imagery for advertising agencies and brand clients for 25 years.
Saddington Baynes’ mission is to create sensational imagery that inspires brand devotion, with a focus on emotional reactions and engagement. To achieve this, Saddington Baynes developed its Engagement Insights® service – an entirely new way to measure the emotional impact of imagery, using neuroscience techniques.
http://www.saddingtonbaynes.com/work/favourites/statue
NOTE: This is a LOCAL job in Glendale, CA. and we have nothing to do with the hiring here. We post these only as a courtesy to our readers.
Do NOT post in the comments, follow the link HERE to apply.
Award Winning Rough Draft Studios, the animation studio behind Futurama, The Simpsons Movie, Clash-A-Rama, and The Maxx is gearing up for its next big project, a new series for Matt Groening.
We are looking for talented CG Generalists to join our team of artists. If you can do it all (model, texture, rig, AND animate), we would love to hear from you!
Requirements:
2+ years professional experience with Maya.
Must have modeling, texturing, rigging, and animation expertise.
Working knowledge of Mental Ray a plus.
Good communication skills and organization.
Ability to respond positively to direction.
Need to work well as part of a team.
Strong artistic sense and technical mastery preferred.
Responsibilities:
Timely completion of CG shots from beginning to end.Manage the progress of multiple shots simultaneously.
Model, texture, rig, animate, and render environments, effects, props and incidental characters.
Work with technical supervisor and episode director for approvals.
Handoff final rendered layers to composite group
Submission:
Please provide us with your resume and a link to your CG reel (3-5 minutes).Please include a breakdown that indicates your involvement in each shot.
Please show us only the BEST examples of your work.
A beautifully animated and rendered film but honestly the story left me a little wanting. I think it would have been better if it had been an alien enemy (because after all it looked nothing like another rabbit) and it was going to kill him and he played the harmonica and the enemy exploded because it couldn’t handle music, or at least if the enemy stopped attacking when it heard the music. Music soothes the savage beast sort of thing. What are your thoughts?
