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Everything posted by ianfreeze

  1. Well done Zack and the Mograph team. This is rad.
  2. ianfreeze

    iMac 2017

    Metal & Metal 2 are interesting to me. Writing those APIs while the companies that make the GPUs also write their own versions (CUDA & OpenCL) seems redundant. Unless they are planning to start building their own GPUs... which would be interesting to say the least. Yes. It's going to cost as much as a car, but I'll have my column view dammit. Unrelated side note, I'm glad there are still a few die hards out there that still come to mograph.net every now & then. I really love this place.
  3. ianfreeze

    iMac 2017

    Not considering this one, per se, however it does give me hope. The fact that they're willing to drop an 18 core proc into an iMac makes me wonder what they'll throw in the future Mac Pro. Theres real hope that I won't have to move to Windows after all...
  4. Seer checks off one of the "I really want that" boxes for windows. The other is column view. Has anyone found a good solution here? I know I can download some other explorer options but none of them look super great so I want to know what you lot have found.
  5. Set Matte (and Set Channel) both look at the entire comp size, not layer size. So you'd have to do some precomping to your matte layer and the layer you want to matte. Another option is the Stencil/Silhouette Alpha blend mode. Its not as versatile, but if you want to have 1 layer cut through a whole bunch, put your matte layer on the top of the layer stack and set its blend mode to "Stencil Alpha (or Stencil Luma, however your matte is set up) and it will cut down through all the layers in the comp and do its magic without having to precomp a bunch of layers.
  6. FINALLY! The ButtRift® has returned. The long wait is over.
  7. the only hiccup that I could see is that the 980ti pulls the 250w, which is a little more than the mac pro is designed to handle for a single slot. So if you're really putting a heavy load on the card you might get the occasional auto reboot. I ran a gtx780 (which also draws 250w) and would occasionally get the unwanted reboots. The system was definitely usable and 95% reliable, but that 5% could be a real bummer. I switched to the standard 980 (which draws around 160w) and haven't really had that problem since. Granted, the standard 980 isn't as fast as the ti, but its just something to keep in mind.
  8. This is the first time I've ever heard this. I dual boot Yosemite and 8.1, and hopping over to 8.1 is maddening only for all the little things. No column view, really strange selection behavior (strange to me at least), 5 different versions of a save/open dialogue, and many other things. But you're saying that with 10, you feel right at home? Obviously this is not turning into a windows vs os x debate, I really am interested in the windows 10 experience.
  9. A little off topic, but I am finding these very useful. A series about concept art/digital painting. Goes into some cool painting/composition theory as well as how to execute. In case anyone else out there is interested. https://www.youtube.com/user/shaddy1100/videos
  10. The example you're showing might be from a particle generator and not a bunch of clones. I'm no scientist, but since all the spheres are emitting from the center, and the splines connecting them all go back to the center, that'd be my guess. I'd set up an emitter, emit a burst of particles, then let your tracer/sweep nurb go to work. Set the focus distance of the camera to the particle emitter and play around with the front and back blur (or set up a physical camera with the physical renderer) and I suspect you might be pretty close.
  11. Look for a tutorial on track mattes or alpha / luma mattes. Thats all an object buffer is. There are tons of tuts out there. If you're going to be adding glows and such, it's helpful to pre comp the rgba/beautypass with the luma matte, and do you're track matte in there. Then put the glow on the pre comp. That way the luma matte won't also be cutting off all your cool glow-y stuff. Theres also this. http://greyscalegorilla.com/blog/tutorials/how-to-use-textures-and-objects-to-light-your-scene-with-and-without-global-illumination-in-cinema-4d/ It might help you get around the GI flicker and get you closer to the look you're going for without track mattes/object buffers
  12. I guess I could have clarified a bit more (seems to be a theme developing here). The thought process part is way more interesting to me than which buttons to push. Its wild to see the different ways that people think about problems, and the connections they make to solve those problems. That "Why did I think of that moment!?" is wonderful and terrible all at once. Thats what I'm after, and what I think is really valuable. If they wanted to toss in how they made it look dope, that would just be icing on the cake, not the main course. I posted the board I did for 2 reasons. 1) to try and keep this thread alive, in the hopes that someone would see if and want to throw in their own ideas (mission accomplished) and 2) for that "connections people make to solve problems" angle. While yes, I was given a heap of poo, and I returned a slightly more molded heap of poo, I figured there might be value in seeing one person make a connection between two ideas that another might not have made. Or maybe everyone immediately thought of old boxing posters. Either way.
  13. Ahhh, this thread isn't dead after all. Excellent. I used the term screen printing loosely. Perhaps too loosely. The technique for getting the posterized look also came down from the agency. It was very strange. They sent us a doc that basically said "Do these steps in Photoshop to make the pictures look this way, use this typeface, and use these colors". We tried to work in as many fine details as we could to bring it to life, but it didn't seem like the agency had put a lot of work into it, and the CD just wanted a bunch of versions as opposed to a couple really refined pieces. I think this is as far as W+K got when they came up with the look. ESPN said they wanted something different than the shiny 3d package, so they just did the opposite. I'm not trying to come off like I'm defending a great piece of art here, I used this example just because in doing the layout (which is essentially all I did) there was a clear connection in my mind between the the look they showed and old boxing posters, and that all gelled thematically. It would be easy to follow the train of thought as it were. You are right in that we could have dug further into the DIY dirt, perhaps the background had a paper texture, and different parts could be ripped away revealing relevant info, or we could have pushed their Photoshop how to further and added in more texture to really make it look printed. We were under the gun and I was looking to dive in before I asked "why" enough times
  14. I actually have that book. However, here I'm looking for more anecdotal examples of look development. Here's a couple of frames I did a while back. ESPN was looking for an update for their college game day package. They had been using a 3d heavy package for the last few years and wanted to try something completely different. They had the idea to have the screen print/posterized looking treatment on the players (also mandating that school colors be used), and the mandate to use the "college" typeface, because you know, subtlety. So looking through the reference they had sent, and the style guides their agency had done I was thinking "boxing poster" right off the bat. Treat the selected photo like it was an image of a boxer and put it head to head with the select from the other team. Arranging them horizontally eliminated any sort of hierarchy as far as the teams went. So, Ohio State couldn't complain if they were listed under LSU or something like that. I wanted to make sure that the players were the school colors over a neutral background, because I was afraid of getting some pretty terrible color combinations if the backgrounds were split up into the school colors. I liked the idea of using the posterization effect to keep whatever player was chosen anonymous. Since not every College has a super star player, having a very high detail image of Johnny football next to an image of Johnny nobody didn't make a lot of sense to me. Lastly, the point of this lockup is to tell people what time the game is, so technically the when and where info is the most important. That's why it all lives dead center. Each player is pushed off the edge of the frame to keep things balanced, but hopefully give us some interesting compositions and hints to the future action and excitement of the game without just having a guy throwing the football. Leaving some things to the imagination as it were. As for execution, it was pretty easy. They provided us with the photos. I cut out the player, the added a black and white effect, then crushed the levels so we just had a pure black and white image. used the selection to select the darker part of the image, and filled that with the school color. the rest of basic layout stuff.
  15. I guess I assumed that everyone had watched that and knew his name is Carey. That's what I mentioned in the OP. That one is very good.
  16. the blathering is exactly what I was hoping for. Thanks Ed.
  17. Part of the point of the thread was to house some information that might be around for a while. Unlike slack where anything of use if gone in 10 minutes because of the 10,000 message limit (or whatever the exact number is) I was hoping to get some thoughts, theory, hunches, and hints in a place that people could come back to. Not unlike this thread... http://mograph.net/board/index.php?showtopic=17803&hl=aicp While a straight rip or someone else stuff is valuable for learning, for sure, knowing the under lying process is more valuable, to me at least. That's what I'm hoping for.
  18. As much as I would like it to be otherwise I am more of an animator than a designer, and I would like the opposite to be true. I've worked at shops and seen some killer boards get done at the machine next to me, but the ability to really polish frames or ideas for frames eludes me. So I turn to you for help. I'm hoping to start an informative conversation here that may even (hopefully) turn into some kind of tutorial (through shared knowledge of many) about Look Development. I've watched Carey's tut on making story boards many times, and I guess i'd love to drill down into that a little more and get some specifics from you pure designers out there. Not just as you're coming up with the concept or story for the piece, but why you make it look the way it looks and how you make it look the way it looks? Do you carry a thumb drive with textures, sparks, particles, or whatever around with you? How do you decide when and where to use them? How do you apply them to your image? How do you decide of color palette? Curves vs levels? Any tricks you like to use to make a frame come alive (even if just a little)? Sometimes the choices are easy, but other times I notice frames that have a lot of textural elements laid over live action footage and the two aren't really related other than making some frames thats look cool. Or the color palette leans cooler, but it's for a comedy show where I would assume you'd want to lean warm. If it's that simple, just "make it look dope" alright, but I'm hoping that some of you bad asses out there have some kind of underlying methodology or system of thought that helps you in the process. I'm also hoping your willing to share not only that methodology, but how you execute it as well. I guess part theory and part photoshop tutorial. Let's breathe some life back into this place.
  19. Another year taken care of. While we're talking about mograph.net, has everyone gone over to the motion design slack? its alright, but i if you don't check it ever 5 minutes you're going to miss something. Any chance whoever is listening out there can get some of the old timers (monkey, chris smith, fred camino, etc) to use this place again? It'd be great if this place didn't become a library for old awesome topics, but a place that is still living and breathing. Cheers Marc!
  20. I'm stepping way our of my element here, so correct me if I say something ridiculous. ... Hasn't DX been way ahead of openGL for a while now? The real time performance on games has been pretty staggering for a few years now. AO, Anti Aliasing, Motion blur etc are all real time in lots of game engines and looks pretty good. Thinking back to the first Crysis game, and how (at the time) the stuff it was doing was incredible. Also, some of the very few demos Ive seen of the source 2 engine look amazing. Also the GeForce cards have done 10 bit out through DX for a bit. To get 10 bit (in Windows only, still no 10 bit support in OS X) through OpenGL you need a quadro card. Im pretty sure its just a software limitation, so Nvidia could change this, but likely won't because, you know... money.
  21. I guess I need to raise my rate, if that's the case. You going to make it to the meetup tonight?
  22. Does the radio silence mean its just ok? or that it's so good everyone is left speechless?
  23. pw: reel Was hoping to get some thoughts before I release her into the wild. Thanks everyone. Unless no one says anything, in which case, get bent.
  24. ianfreeze

    DMA LA

    I'll make sure I have some $1's on me...
  25. ianfreeze

    DMA LA

    Snagged a ticket as soon as I saw you and Ben would be there. Looking forward to it.
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