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About Kokosing

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  1. Hi folks! It's been a very long time since my last posting. So I thought I'd share some recent work. I'm based in London, mostly doing graphics for documentaries (BBC, Channel 4, History Channel) and the occasional branding work. I do a lot of jobs myself, pitching, designing and animating as a one man band. But I really prefer working as part of a team. So in the last year as well as my own jobs I've done some lead animator/director jobs at Jellyfish Pictures in London I use C4D, Vray and Ae plus a lot of side program's like PFTrack, Global Mapper and World Machine. So here's my reel: https://vimeo.com/14387847 Comments are very welcome. I recut the damn thing about once a month. So if you think something should go, just shout and I might take it out. See you soon, Will
  2. Hey there, It's been a while since I posted anything here, so here's a recent job: I did the aerial maps animation for the BBC2 series A History of Ancient Britain presented by Neil Oliver - which started last night here in the UK. There's a worldwide version as well but I'm not sure when/where it will run. I've cut together a reel of the maps here: Maps Reel I setup everything in C4D and rendered with VRAY. Extra clouds and atmos were added in AE with a C4D camera. The project had some cool challenges. The main one was how to simulate thousands of years of flooding and erosion that separated Britain from mainland Europe. I ended up creating several key coastlines and using a turbulent gradient to blend between them. Besides the graphics the shows have some great photography mixing 5D's and regular HD with Pro35 adapters and prime lenses. There's also a Scotsman with long black hair - which some people dig. Thanks! W
  3. Does a clip like this really belong in a C4D reel? And in such a prominent position? It's clearly a Realflow sim, unless we're getting Fluids in R12 (!) Plus it's a pretty obvious copy of Psyop's HP Touch ad, no? W
  4. If they're less than once a second you'll probably be fine. If in doubt go to one of the uk broadcasters commissioning websites and look for a tech spec PDF. That should contain a fairly wordy description of the things that set off Dr. Harding's device. W
  5. I've had the 1-frame issue before too. I'd suggest a couple of other checks: look at the camera f-curves in Track. See if you've got any weird bounces. I'm doing a project now where we put a 3D object very close to the camera. You don't see any problem with the track until you place the object. On closer inspection you see some bumps that you didn't see before. Make sure all your camera settings in Cinema match the plate. This includes pixel aspect ratio. Is your background texture set to exact frame in Cinema? Good luck, w
  6. Thanks, Dan. That book looks like the perfect choice. Dotcommer, I know what you mean. I love node based, and in time I hope to get into Nuke. But I'm a C4D user and it seems employers expect AE skills as a matter of course. Cheers folks, W
  7. I've finally decided to move my compositing work to After Effects (until now I've done all my comping and simple 2D work in Shake). In due time I want to do more with AE, but for now I'm looking for some learning materials that cover standard production techniques in AE. As an example, I want to drop a 3D object with Alpha over a video background, and match the colors. Has anyone seen any good books or DVDs which take an experienced artist through AE's tools? Thanks, W
  8. This depends a lot on what/how you're going to shoot and if you plan to shoot stills as well. I use my 7D for video, so I don't benefit from any automatic features in any lens once the camera is rolling - no autofocus, no autoexposure, nada. So I decided to go with fully manual lenses. I've got two Ziess Contax Primes, an f1.4 80mm and an f2.8 28mm. Both of them I bought used for good prices (I think.) With the APS-C crop they come out to 120mm and 40mm. They work well on my 7D with a cheap adapter, but according to the guy at my local camera shop they may not fit on a 5D because the mirror bumps the lens mount. Also with this adapter they don't focus at infinity. You need to bring the focus back slightly. That said, they're awesome for that shallow depth, beautiful blacks look. The 28mm is just about wide enough to use with a glidecam (this is hearsay, I don't own a glidecam but I've played with my own steady rig and it just wouldn't work with a tighter lens.) But neither lens is practical for hand held as even a tiny shake a visible and with a rolling shutter you can't really stabilize harsh movement. A friend uses an optically stabilized Canon lens which looks great on hand held shots with a very simple shoulder rig. Hope that's useful. W
  9. Albert's right. Once you've sorted out your projection, select the texture tag and then 'Generate UVW' coordinates. Your texture will no longer be projected, but have UV coords and deform with the hand animation. If you're deforming the mesh to line it up with the projection, you may have to do 'Current State to Object' for C4D to see the correct projection when it creates the UVs. I think 'Bake' was throwing us. Bake usually means to convert a rendered state like a reflection or ambient occlusion into a bitmap texture. W
  10. There's some other news from Canon recently. A new plugin will allow ingest directly from DSLR's to Final Cut Pro through the Log and Transfer tool. (LINK) And they're also working on a 4:2:2 MPEG codec. On reading this initially I thought the new codec was for the DSLRs, but I think it's heading for video cameras only. W
  11. If they are censoring it, I'm surprised they haven't taken down Clint F's comments. They seem a lot more controversial than a George Carlin clip. W
  12. I've been using a company for map imagery for a few years and I think it's time for a change. I've been paying too much and putting up with too much angst. So I'm looking for a company that can supply hi-res geo-tagged map images for the UK and Western Europe. I'd need layers like terrain, seas, spec and reflection, a DEM or displacement map and if possible political borders. Had anyone got a supplier they like? Thanks, W
  13. Yeah, I admire The Onion too much to presume I could write for them. This just started as a test and I decided to give it a narrative. The camera shake is my doing. The backplate is a static shot off istockophoto. I added the shake to give the whole thing a 'found footage' look. I know that could be achieved better. But I was able to add the camera movement using a bit of set extension. I was surprised how much I could translate the camera before the parallax gave it away. PFTrack's geometry tracker is just plain cool. You create a geometry and line it up over the object as best you can, and then the software tracks the geometry along with the scene. In this case I started with a cone lined up with the mouse's nose. This got my about 80 percent accuracy. In the end I modeled my own mouse head and tracked that. The great thing about that was when I opened the whole thing up in C4D, I had the mouse head keyframed on every frame. I could project the plate back onto it and use this for reflection and shadow passes. So cool! Thanks for checking out the spot. Take it easy, Will
  14. I wanted to put PFTrack's geometry tracking through some tests, so I came up with this spec spot. The Onion: Masterplan It's not meant to be a great achievement in motion design, or humour for that matter. But it does show some of what can be done with the tool. The other technique that was really handy is C4D's Spline Dynamics, which comes with the hair module. This controlled the wire movement. I used this tut to get the hang of them. Cheers, W
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