tag:blogger.com,1999:blog-43882889535795184642024-03-14T06:37:10.375-03:00RENDER-OUTArte Digital, Design, Computação Gráfica, Cinema e Fotografia.Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-4388288953579518464.post-82488541680493680682015-02-04T01:51:00.001-02:002015-02-04T01:52:24.983-02:00Como evitar maus clientes<br />
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Como evitar maus clientes</h1>
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Por que cliente ruim, ninguém quer.</div>
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Eu sei, atender é muito difícil e <a href="http://tableless.com.br/atender-bem-para-atender-sempre" style="box-sizing: border-box; color: #eb191e; margin: 0px; padding: 0px;">atender bem</a> é mais difícil ainda. Mas existem dois pontos importantes que se bem administrados você pode evitar muita dor de cabeça na hora de negociar e entregar um projeto.</div>
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<span style="color: orange;">Lei da compensação</span></h2>
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Muitos negócios acabam logo no início por que um dos lados abre mão de muita coisa nas negociações iniciais do projeto. Quem nunca negociou com clientes que além de pedirem descontos, querem que definir a data de pagamento e a data entrega do projeto?</div>
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A lei da compensação é simples: você não pode abrir mão de alguma coisa sem ter algo em troca. Por exemplo: se o cliente brigar por preço, você pede uma data maior de entrega. Se ele pede uma data de entrega menor, você briga por preço. Não é justo um de vocês decidir quanto pagar e quando entregar. Você pode acabar fazendo um projeto com uma data impossível de entregar por um preço baixíssimo ou o cliente pode ter um projeto caro e que vai demorar pra ser entregue. Entende?</div>
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Essa história de 40% no aceite 60% na entrega pode até dar certo, mas só se você confiar no seu taco.</div>
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Você também pode brigar por features no projeto. Se o projeto precisa ser entregue em uma data que não poderá ser mudada, é interessante negociar a quantidade de features do projeto. Dessa forma você simplifica o desenvolvimento. Por outro lado o projeto pode ficar mais barato para o cliente, e consequentemente você ganha menos. O importante é equalizar os fatores. Você vai ganhar menos, mas também vai trabalhar menos. Isso significa menos profissionais alocados, logo, menos dinheiro sendo gasto em um único projeto, e os profissionais podem ser liberados para outros jobs.</div>
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Existe aquele cenário onde há a data da entrega é imutável e as features não podem ser retiradas. Nesse caso você briga por preço. Um projeto assim geralmente não é barato, já que você precisa envolver mais pessoas para entregar na data com todas as features acordadas.</div>
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Entenda que você precisa ser duro nesses cenários. Isso se chama negociação. <img alt=":-)" class="wp-smiley" src="http://tableless.com.br/wp-includes/images/smilies/icon_smile.gif" style="box-sizing: border-box; height: auto; margin: 0px; max-width: 100%; padding: 0px;" /><br />
Você não pode simplesmente abrir mão de algo sem ter nada em troca. A mesma coisa é aplicada para o cliente. Ele não pode e nem deve abrir mão de algo no projeto dele sem ter algo em troca.</div>
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Agora, se você ficar com essa bobeira de “Ah, mas eu preciso de dinheiro e se eu não pegar esse cliente, outro cara vai pegar”, você só vai piorar sua situação profissional e pessoal.</div>
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<span style="color: orange;">Datas e pagamentos</span></h2>
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Definir a data de entrega dos projetos não é algo trivial. Você nunca vai acertar na primeira vez, nem na segunda. Requer prática e sangue frio. Muitos se perdem nesse ponto por que além de não estimarem direito, acabam atrelando o pagamento da última parcela ou até mesmo do pagamento inteiro com a data de entrega do projeto. E se você atrasa o projeto? E se o cliente muda de ideia no meio do caminho? Se esse projeto se arrastar durante meses você vai aguentar ficar sem a última parcela do pagamento?</div>
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Essa história de 40% no aceite 60% na entrega pode até dar certo, mas só se você confiar no seu taco e na capacidade do cliente de não mudar de ideia.</div>
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A lei da compensação é simples: você não pode abrir mão de alguma coisa sem ter algo em troca.</div>
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Essa forma de pagamento ajudam os clientes a se protegerem caso o projeto atrase ou você suma no mundo. É compreensível já que existe tantos picaretas por aí. Nesse caso tenha em mente de ter dado uma data para entrega factível, de acordo com suas capacidades, de forma que você tenha fôlego para desenvolver o projeto e talvez até entregar antes do esperado.</div>
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<span style="color: orange;">Desista de clientes ruins</span></h2>
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Não importa em qual fase do projeto você esteja, se o cliente não coopera com pagamento, se te pede mais do que o acordado sem te pagar a mais por isso ou qualquer outro motivo de forma que você saia prejudicado, desista dele.</div>
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Assim como há maus profissionais existem maus clientes. Nesse caso, não perca tempo, pule pra outro e siga em frente. Seja transparente, explique seus motivos, tente resolver a situação. Mas<strong style="box-sizing: border-box; margin: 0px; padding: 0px;">não tenha medo de deixar um mal cliente para trás</strong>.</div>
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Atender alguém que apenas quer sugar seu esforço é o primeiro passo para o negócio empacar. Por isso respire fundo e tome alguma atitude.</div>
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Não vale a pena levar o projeto adiante se o cliente não entende o seu cenário. Se ele não está disposto a mudar, mude você caia fora. Esse cliente vai falar um monte, vai brigar, vai te chamar de safado e ladrão, mas seja firme em sua decisão. Era um compromisso parasita para você e para sua empresa. Vai bater aquele arrependimento, sensação de ter jogado dinheiro fora, mas não se engane, você fez o melhor que podia.</div>
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Assuntos como esse quase nunca são discutidos em nosso mercado. Muitos freelas ou empreendedores novatos aprendem isso da maneira mais difícil. Mas quando aprendemos, lidamos com nossos projetos de forma mais confiante, errando menos e deixando os clientes que merecem mais felizes.</div>
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Abraços!</div>
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Fonte: http://tableless.com.br/como-evitar-maus-clientes/</div>
Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-45146133551184925722014-04-03T22:16:00.003-03:002014-04-03T22:18:51.337-03:00Life After PI ( A história da Rhythm & Hues Studios)<div class="separator" style="clear: both; text-align: center;">
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Muita gente deve ter visto o que aconteceu com a Rhythm & Hues Studios, quando anunciou sua falência após concretizar "Life of Pi" e ganhar pela terceira vez em sua história o Oscar de efeitos visuais. Esse documentário conta um pouco do que aconteceu com o estúdio e o que levou à falência.<br />
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A questão é a seguinte: - Um estúdio grande como a Rhythm & Hues, que emprega (ou empregava) centenas de pessoas e possui um modelo de negócio no mínimo muito mais sólido e organizado do que estúdios brasileiros de menor "cacife" acaba por fechar as portas após 27 anos de trabalhos extraordinários. Como os outros estúdios, grandes e pequenos, sendo mais sensíveis a falência por falta de investimento e capital poderiam sobreviver hoje? Claro que estúdios menores não empregam 500 pessoas, mas são mais suscetíveis a mudanças de mercado e maior influenciados pela prática predatória da oferta de trabalho, onde o cliente impõem o preço, condições de trabalho e pronto! "- Nos profissionais nos sentimos amordaçados e incapazes de agir de forma significativa já que a concorrência nessa fatia de mercado é grande". O fato é que empresas menores fecham as portas todos os dias, assim como a Rhythm e não ficamos sabendo.<br />
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Talvez o modelo de negócio explicado no <a href="https://www.youtube.com/watch?v=GfeKqJhYNNg" target="_blank">Life After PI</a> , as principais diferenças entre os estúdios de VFX e os de Filmagem, possam nos "abrir a mente" para o que pode começar a ser mudado, iniciando é claro pela valorização do profissional de VFX que tem papel fundamental nos filmes, comerciais e mídias variadas, aliás 75% dos filmes hoje em dia são pura <b>Computação Gráfica Integrada</b> e você aí meu amigo que acha que dois cliques no mouse e o computador resolve, está redondamente enganado! Não é a máquina que faz, existe um cérebro humano por traz de todo o processo.<br />
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Então tá aí galera, registado para o "grande irmão"!<br />
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Abraços,<br />
Jorge ArmandoAnonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-16481162119790197402013-12-30T20:50:00.001-02:002013-12-30T20:52:51.281-02:00CGI VFX - Mr.GO, Macacão digital da hora!!<div class="separator" style="clear: both; text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">CGI VFX Breakdowns - Mr.GO, Macacão digital da hora!</span>!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Confira o Showreel das composições desse gorilão. Destaque para a iluminação, efeitos de água e pêlos. Trabalho fantástico da <span style="background-color: white; color: #333333; line-height: 17px;"><a href="http://www.dexterstudios.com/" target="_blank">Dexter Studios</a></span>!</span></div>
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<span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 17px; text-align: left;">Official Webpage -</span><a class="yt-uix-redirect-link" dir="ltr" href="http://www.dexterstudios.com/" rel="nofollow" style="background-color: white; border: 0px; color: #999999; cursor: pointer; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-align: left; text-decoration: none;" target="_blank" title="http://www.dexterstudios.com/">http://www.dexterstudios.com/</a></div>
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Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-10303260163029317282013-12-22T12:30:00.002-02:002013-12-30T20:53:30.292-02:00Motion Branding: What Brings A Brand to Life<br />
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<img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3bLKGD_fMHIGGL1jDxy8oUfq1KIva_6ZaRTYsV9RmBazSUNZSWiVG6GRiLcam1Fj0puCcwOhHIFNvyzH8Ah1-8qNyvjgKZnimjm9tx7a-t76NhPuOuiIc53HxWsEnjZp-XHIjc9qhtwEx/s640/MotionBranding.jpg" width="640" /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Confira esta CG interessante e perspicaz explicando como o motion graphics design faz uma marca de sucesso, pelo talentoso Motion Design & artista gráfico, Henning Herholz.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Maiores informações:</span><br />
<a class="yt-uix-redirect-link" dir="ltr" href="http://www.henningherholz.com/" rel="nofollow" style="background-color: white; border: 0px; color: #999999; cursor: pointer; font-family: arial, sans-serif; font-size: 13px; line-height: 17px; margin: 0px; padding: 0px; text-decoration: none;" target="_blank" title="http://www.henningherholz.com/">www.henningherholz.com</a><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/d7-mTqEcDF8?feature=player_embedded' frameborder='0'></iframe></div>
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<a href="https://vimeo.com/81269696" style="text-align: start;" target="_blank">Link do vídeo no Vimeo</a></div>
<br />Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-59247064407632474802013-07-07T13:55:00.000-03:002013-07-07T13:57:42.419-03:00World War Z: Zombie Making Off<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSM8sCPgWIPShi6_yrrQNfGWAOPMbWZoye3chn2o338Qdfeu6q0-8e4F9062vtAbLyGfdefDFzXlXJ0rIzcH29gavgAZwgHos40K_ukRyLfc3q39IJJ916P4AWTBCmzaUunIPcztRX9Bi_/s1600/pg_26_028_jre__0450.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSM8sCPgWIPShi6_yrrQNfGWAOPMbWZoye3chn2o338Qdfeu6q0-8e4F9062vtAbLyGfdefDFzXlXJ0rIzcH29gavgAZwgHos40K_ukRyLfc3q39IJJ916P4AWTBCmzaUunIPcztRX9Bi_/s640/pg_26_028_jre__0450.jpg" width="640" /></span></a></div>
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<span style="background-color: white;">Marc Forster’s <em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">World War Z</em> may have had a slightly turbulent trip to the big screen – it’s third act was re-worked at high cost – but the benefits have been clear, with a successful opening weekend and praise as a new kind of zombie film. A swathe of visual effects artists, led by effects supervisor Scott Farrar, helped realize the undead. We sat down with four of the show’s vendors to discuss their key contributions:</span></div>
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<span style="background-color: white;">1. The zombies take the US: Cinesite<br />2. From Israel to Cardiff: MPC<br />3. Scanning, 3D data capture and modelling: 2h3D and 4DMax<br />4. Stereo conversion: Prime Focus</span></div>
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<span style="background-color: white;"><iframe allowfullscreen="" frameborder="0" height="360" src="http://www.youtube.com/embed/tvoUMH9Ghpo?rel=0" style="border-width: 0px; font-family: inherit; font-style: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" width="640"></iframe><br /><em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">- See how MPC created the digital zombies for the dramatic Jerusalem sequence, in this exclusive video from our media partners at WIRED.</em></span></div>
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<span style="background-color: white;">1. The zombies take the US: Cinesite</span></h3>
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<span style="background-color: white;"><em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">World War Z</em> begins in Philadelphia where former United Nations worker Gerry Lane (Brad Pitt) is stuck in heavy traffic. Suddenly a large garbage truck takes out a police motorcyclist and the many cars around him. Gerry catches a glimpse of strange behavior as hordes of people escape what seem to be other crazed humans – soon revealed as zombies whose bites pass on these same characteristics. Escaping to a New Jersey rooftop, Gerry and his family are dramatically rescued by helicopter and taken to a flotilla of vessels off the coast, as cities burn and many more people are attacked and become zombies. Gerry then begins a worldwide journey, starting in Korea, to look for the source of the zombie outbreak. Cinesite handled effects for these sequences.</span></div>
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<span style="background-color: white;">The garbage truck</span></h5>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_05_008_pcs__0240.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="A garbage truck slams through traffic." class=" wp-image-44348 " height="344" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_05_008_pcs__0240-1024x573.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="614" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">A garbage truck slams through traffic.</span></div>
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<span style="background-color: white;">Scenes set in Philadelphia were filmed in Glasgow, Scotland. For the garbage truck shot, which is seen from inside Gerry’s Volvo and follows the truck as it ploughs through the cars, multiple plates came together to complete the startling scene. “Simon Crane, the second unit director, wanted to do both the stunts and shoot the plates at the same time,” says Cinesite visual effects supervisor Matt Johnson. “So what we had to do was work out a way to make this possible, because normally when you do plates like this you have a tracking vehicle and use say camera arrays. We couldn’t do this on this show because we had to shoot the plates the same time we were shooting the vehicle.”</span></div>
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<span style="background-color: white;">To make it possible, Johnson and second unit DOP Igor Meglic devised a way to fit four different static cameras inside Gerry’s Volvo to cover the field of view. “Those had to be wedged within the driving vehicle itself and then blacked out to be able to shoot through the glass,” explains Johnson. “So we had four overlapping cameras that, when stitched together, would make that field of view. We never actually pan in real life, the pan is a creation of the blending of the four plates together.”</span></div>
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<span class="video-download" style="border: 0px; display: block; font-family: inherit; font-size: 9px; font-style: inherit; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;"><a href="http://www.fxguide.com/download/?force_file=/2013/06/WWZ_brokenmirror.mp4" style="background-color: white; border: 0px; cursor: pointer; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="color: black;">Download Video</span></a></span></div>
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<span style="background-color: white;">Watch part of the garbage truck shot.</span></div>
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<span style="background-color: white;">So the final shot was made up a greenscreen plate of Brad Pitt, four plates combined for the garbage truck (with a CG replacement for its front section that has been shot with a ‘cattle catcher’), a policeman element, a dummy/mannequin element, background buildings, and a windscreen raindrop element “because I got obsessed with raindrops on windows,” admits Johnson.</span></div>
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<span style="background-color: white;">Zombies in Philly</span></h5>
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<span style="background-color: white;">As Gerry and his family retreat to the street, they see the zombies begin to attack others, and for the effects of their bite to take only seconds. Zombie actors were utilized on set in Glasgow and then highly supplemented with digital counterparts. Cinesite looked to reference from videos of attack dogs that would go straight fro the throat, and also sporting events such as rugby and NFL players for how humans leap.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDa_009_pcs_0730.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Background plate." class=" wp-image-44341 " height="160" src="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDa_009_pcs_0730-320x178.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Background plate.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDb_009_pcs_0730.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Animation." class=" wp-image-44340 " height="158" src="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDb_009_pcs_0730-320x176.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">CG zombies.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDc_009_pcs_0730.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Animation on background." class=" wp-image-44339 " height="164" src="http://www.fxguide.com/wp-content/uploads/2013/06/07_BUILDc_009_pcs_0730-320x182.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Animation on background.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_07_009_pcs__0730.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44338 " height="161" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_07_009_pcs__0730-320x179.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<span style="background-color: white;">“The interesting thing about when humans leap is,” notes Johnson, “there’s always some element of self-preservation however hard they’re going in – a tendency to go in with your arms or protect your head. We thought zombies wouldn’t care about that – they’d basically care about getting the bite in. But then we realized – if a stunt person does that, they’ll be dead. So that ended up becoming something we did in CG.”</span></div>
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<span style="background-color: white;">Halon served as one of the main previs providers for World War Z, under the supervision of Previs Director Daniel Gregoire and supervisor Bradley Alexander. The team used a portable V CAM System on set to imagine scenes, also relying on mocap, virtual camera, MotionBuilder and Maya for previs and postvis work.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/18_BUILDa_012_pbr_0070.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="In addition to ground level shots, Cinesite also completed several aerial shots for the film." class=" wp-image-44364 " height="161" src="http://www.fxguide.com/wp-content/uploads/2013/06/18_BUILDa_012_pbr_0070-320x179.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">In addition to ground level scenes, Cinesite also completed several aerial shots for the film. Original plate.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_18_012_pbr__0070.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44363 " height="160" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_18_012_pbr__0070-320x178.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<strong style="background-color: white;">Cinesite’s stereo conversion</strong></div>
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<span style="background-color: white;">In addition to its VFX work, Cinesite completed around 400 shots of stereo conversion under stereo conversion supervisor Angus Cameron.</span></div>
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<span style="background-color: white;">Head of VFX Technology at Cinesite Michele Sciolette explains: “We developed a hybrid approach that allows us to have the flexibility of disparity grading techniques with the consistency and spatial coherency of a 3d geometry-based approach: we use accurate 3d geometry and camera tracking data to generate spatially correct depth maps that provide the basis for the image based part of our pipeline.”</span></div>
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<span style="background-color: white;">For digital zombies (and several humans), Cinesite developed a pipeline based on scans of actors on the set. “We had a system where I was given cards,” says Johnson, “and if I wanted somebody to be scanned or photographed I would tick this little box and I would hand the person this card which they would show to an AD and they would be taken off to this magical world of texture photography and scanning.”</span></div>
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<span style="background-color: white;">Cinesite based their digital creations on concurrent work being done by MPC for the Israel sequences (see below), with the studio relying on a Maya/RenderMan pipeline, nCloth for cloth sims and Yeti from Peregrine Labs for hair. “We built 30 odd characters that were the human and the first stage of the zombies,” says CG supervisor Anthony Zwartouw. “We did a lot of internal work on our pipeline to push our cloth and our hair and also generally our lighting pipeline to achieve these characters. They had to serve as both crowd characters in their thousands but also close up. We also developed an interesting tool where we could take characters we’d sim’d in Massive and then upgrade them to do cloth sims and hair sims on top of it.”</span></div>
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<span style="background-color: white;">Significant environment work to turn Glasgow into Philadelphia was also required. “It’s not quite as mad as it sounds,” jokes Johnson. “There are similarities between the cities, but we did a lot of building work, adding height to the Glasgow buildings and making geographical sense of the layout. Also, the film is very handheld and zoomy which became a huge tracking challenge. We mounted zoom encoders onto every camera – ARRI Alexas – and we also hard-mounted a fixed wide angle lense camera on everything to give us extra tracking information.”</span></div>
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<span style="background-color: white;">The rooftop escape</span></h5>
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<span style="background-color: white;">With his UN connections, Gerry secures a chopper pick-up from atop a New Jersey apartment building. He and his family manage to just evade several zombies as the helicopter takes off and flies from the city to the flotilla of ships.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/23_BUILDa_028_jre_0200.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Greenscreen plate." class=" wp-image-44355 " height="161" src="http://www.fxguide.com/wp-content/uploads/2013/06/23_BUILDa_028_jre_0200-320x179.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Greenscreen plate.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/23_BUILDc_028_jre_0200.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Background with added digital elements." class=" wp-image-44354 " height="161" src="http://www.fxguide.com/wp-content/uploads/2013/06/23_BUILDc_028_jre_0200-320x179.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Background with added digital elements.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_23_028_jre__0200.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44353 " height="344" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_23_028_jre__0200-1024x573.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="614" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<span style="background-color: white;">Plates for the rooftop were filmed on a soundstage in essentially a fully enclosed greenscreen box. Reference stills from Philadelphia and New York were then used to create backgrounds. “We basically made a virtual set and then photographed it with cameras within Nuke,” explains Johnson. “They shot also with a helicopter buck and then we added in the rotor blades. We’d make the puddles in the water wobble a bit and add in prop wash and venting of exhaust gases to make it feel as real as we possibly could, adding in things like chromatic aberrations and real lens flares.”</span></div>
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<span style="background-color: white;">In the sequence, the zombies have no hesitation in launching themselves at the moving helicopter, even if it means falling several stories to the ground. Cinesite employed both live action and mocap’d zombie actors for these shots. “They actually went a little outside the box and had performance artists and ballet dancers and experimental dancers do some of the real and mocap performances,” says Johnson. “They can do the most freakishly weird things with their bodies. And then if they’re running towards the edge of a building – some of them are real and some are CG. And hopefully unless you see one plunging 500 feet below you won’t realize which one is which.”</span></div>
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<div class="wp-caption alignleft" id="attachment_44345" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: left; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 24px 20px 0px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/26_BUILDa_028_jre_0450.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Original plate." class=" wp-image-44345 " height="160" src="http://www.fxguide.com/wp-content/uploads/2013/06/26_BUILDa_028_jre_0450-320x178.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Original plate.</span></div>
</div>
<div class="wp-caption alignright" id="attachment_44346" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: right; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 0px 20px 24px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_26_028_jre__0450.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44346 " height="160" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_26_028_jre__0450-320x178.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<h3 style="border: 0px; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 24px; line-height: 1; margin: 2em 0px 10px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">2. From Israel to Cardiff: MPC</span></h3>
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<span style="background-color: white;">Having set out on a mission to uncover the origins of the zombie plague, Gerry is led to Jerusalem – a city that has built a giant protective wall having had an inkling towards the impending doom. Unfortunately, due to the zombies’ being attracted to noise, and their new found ways of clumping together to form human-like ladders and pyramids, the breach the safe zone and wreak havoc on the city. Once again, Gerry must escape the zombies – at first attempting this unsuccessfully by helicopter but then via a passenger jet. This plane is re-directed to Cardiff, Wales to a WHO research facility in the hope of finding a zombie cure. But a stowaway zombie causes the jetliner to crash in Wales. MPC delivered visual effects for the Israel and plane crash sequences.</span></div>
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<div class="wp-caption alignleft" id="attachment_44325" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: left; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 24px 20px 0px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/065_blc_0060_plate02_1090.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Original plate." class=" wp-image-44325 " height="121" src="http://www.fxguide.com/wp-content/uploads/2013/06/065_blc_0060_plate02_1090-320x134.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Original plate.</span></div>
</div>
<div class="wp-caption alignright" id="attachment_44326" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: right; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 0px 20px 24px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/065_blc_0060_254_1090.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44326 " height="121" src="http://www.fxguide.com/wp-content/uploads/2013/06/065_blc_0060_254_1090-320x134.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<h5 style="border: 0px; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 16px; margin: 1.5em 0px 7px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Jerusalem</span></h5>
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<span style="background-color: white;">In what have become some of the film’s signature shots, the zombies congregate outside the gates of Jerusalem before forming these massing shapes, a task MPC tackled by looking to concept art, animation reference and plates shot in Malta. “Early on we were talking to the animation supervisor Andy Jones who was helping to work out how did the zombies move,” recalls MPC visual effects supervisor Jessica Norman (who also worked with MPC supe Adam Valdez on the film). “How did they run, were they a lot faster? What’s their arm positioning, how do they react? We saw artwork early on with pyramids and how the mass of zombies create these shapes because they’ve got no fear or pain, so they don’t mind bashing against each other.”</span></div>
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<div class="wp-caption alignleft" id="attachment_44330" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: left; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 24px 20px 0px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/076_ijg_0980_plate01_1053.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Original plate." class=" wp-image-44330 " height="128" src="http://www.fxguide.com/wp-content/uploads/2013/06/076_ijg_0980_plate01_1053-320x142.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Original plate.</span></div>
</div>
<div class="wp-caption alignright" id="attachment_44332" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: right; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 0px 20px 24px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/076_ijg_0980_262_1053.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44332 " height="128" src="http://www.fxguide.com/wp-content/uploads/2013/06/076_ijg_0980_262_1053-320x142.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Final shot.</span></div>
</div>
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<span style="background-color: white;">The digital zombies were modeled via scans and reference photography (see below) in MPC’s Maya and RenderMan pipeline. Over 3,000 different wardrobe outfits that could be mixed and matched were created for the zombies.For the pyramids, in particular, MPC would block out movements with geometry first to get a rough feel for the animation based on previs and the mocap that had been shot. “We had mocap of guys climbing on a ramp and falling,” says Norman. “Then when we built the pyramids, the clips would be put on them based on the angle needed, and then we used a lot of animated vignettes. There was also a lot of keyframe animation.”</span></div>
<div class="wp-caption aligncenter" id="attachment_44320" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; clear: both; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 0px auto 20px; padding: 4px; text-align: center; vertical-align: baseline; width: 624px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/067_bza_0300_671_1197.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="The zombies form a pyramid to try and get over the wall." class=" wp-image-44320 " height="346" src="http://www.fxguide.com/wp-content/uploads/2013/06/067_bza_0300_671_1197-1024x576.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="614" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">The zombies form a pyramid to try and get over the wall.</span></div>
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<span style="background-color: white;">“Typically in a crowd you would have agents avoiding each other,” adds Norman. “We couldn’t quite do that because they’re basically all in the same space – folding onto each other. So in a lot of the shots we were working on too many to start with, then having scripts on them to remove the characters that are intersecting or in the same place.”</span></div>
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<span style="background-color: white;">That necessitated developments to MPC’s in-house crowd tool ALICE, which works hand-in-hand with their rigid body dynamic solver PAPI, especially for shots of the pyramid of zombies as it collapses. “We also improved ALICE to create a rag-doll system where you could have a partial rag-doll on an agent,” says Norman. “You could have a clip running of the whole guy, but just part of the body like an arm would be a rag-doll. So if one of the agents ran into a wall he would react to that wall partially as a rag-doll. We also made it so you can go from clip to rag-doll to recovery,” continues Norman. “It would move the joints appropriately to have zombie falling off the wall, landing, through PAPI and then have it move into position to match the position of a crawling guy.”</span></div>
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<div class="wp-caption alignleft" id="attachment_44324" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: left; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 24px 20px 0px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/515_lvi_0155_plate01_1080.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Original airport plate." class=" wp-image-44324 " height="162" src="http://www.fxguide.com/wp-content/uploads/2013/06/515_lvi_0155_plate01_1080-320x180.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Original airport plate.</span></div>
</div>
<div class="wp-caption alignright" id="attachment_44327" style="border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: none; display: inline; float: right; font-family: Helvetica, Verdana, 'Lucida Grande', 'Gill Sans', Arial, sans-serif; font-size: 12px; line-height: 18px; margin: 4px 0px 20px 24px; padding: 4px; text-align: center; vertical-align: baseline; width: 298px;">
<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/515_lvi_0155_272_1080.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44327 " height="162" src="http://www.fxguide.com/wp-content/uploads/2013/06/515_lvi_0155_272_1080-320x180.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
<div class="wp-caption-text" style="border: 0px; font-family: inherit; font-style: inherit; margin-bottom: 4px; padding: 0px; vertical-align: baseline;">
<span style="background-color: white;">Final shot.</span></div>
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<span style="background-color: white;">For more shots of a ‘sloshing’ horde of zombies coming down a street, MPC utilized a rig which was essentially a 3D volume that could be controlled and allowed for the placement of crowd agents as a first blocking pass. A similar scene has the zombies combining so much that they push a bus over (see more on this below) – a practical stunt filmed in Malta and completed with digital zombies, which sometimes came close to camera. “If they came close to camera,” says Norman, “we’d promote them from our crowd system, pick them up in animation and tweak them for the facial performance.”</span></div>
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<span style="background-color: white;">In addition to the ‘zombie tsunamis’ in Jerusalem, MPC delivered environment extensions, a helicopter crash and several shots of the airport and taxiing aircraft. There were also 2D augmentations done on live action zombie actors to give them additional emotion, veining and eye treatments, and occasional re-times to accentuate moves.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/7b6aa7.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Framestore's Art Department contributed concept designs to World War Z, including for the Jerusalem scenes." class=" wp-image-44385 " height="267" src="http://www.fxguide.com/wp-content/uploads/2013/06/7b6aa7-1024x445.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="614" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Framestore’s Art Department contributed concept designs to World War Z, including for the Jerusalem scenes.</span></div>
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<span style="background-color: white;">The plane crash</span></h5>
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<span style="background-color: white;">Escaping Jerusalem with an Israeli soldier and a plane-load of passengers, Gerry heads to Cardiff, but not before a zombie wreaks havoc. In desperation, Gerry tosses a grenade that blows out the side of the plane as humans and zombies fly through it. The stunt was performed with several wire pulls but then enhanced with MPC digi-doubles that whiz by camera. “We wanted to create this messed up look,” says Norman. “The film is handheld and messy, and so we also wanted to have that fast movement messed up in front of the camera.”</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/536_zop_0560_plate01_1028.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Inside the plane crash. Original plate." class=" wp-image-44334 " height="121" src="http://www.fxguide.com/wp-content/uploads/2013/06/536_zop_0560_plate01_1028-320x134.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Inside the plane crash. Original plate.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/536_zop_0560_716_1028.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Final shot." class=" wp-image-44335 " height="121" src="http://www.fxguide.com/wp-content/uploads/2013/06/536_zop_0560_716_1028-320x134.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="288" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Final shot.</span></div>
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<span style="background-color: white;">The damage causes the plane to make a crash landing through a forest of trees. MPC relied on its fluid sim software Flowline, along with additional particle and volumetrics work to create the destruction. “We originally built the plane not knowing it would crash,” states Norman. “So we had to change parts of the original model and do some uprez’ing and added textures and blend shapes for how the sides of plane are ripping, with lots of effects for the trees as well.”</span></div>
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<span style="background-color: white;"><iframe allowfullscreen="" frameborder="0" height="263" scrolling="no" src="http://widgets.ign.com/video/embed/content.html?url=http://www.ign.com/videos/2013/06/26/world-war-z-airplane-attack-clip" style="border-width: 0px; font-family: inherit; font-style: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" width="468"></iframe><br /><em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">- Watch part of the plane crash in this clip.</em></span></div>
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<span style="background-color: white;">3. Scanning, 3D data capture and modelling: 2h3D and 4DMax</span></h3>
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<span style="background-color: white;">To help create the thousands of digi-double zombies and to realize them on the location sets or CG environments, Cinesite and MPC enlisted the help of companies including 2h3D and 4DMax. We take a look at the work of these two vendors involved in scanning and data capture.</span></div>
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<span style="background-color: white;">2h3D</span></h5>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Weapons.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Weapon scans. Image courtesy 2h3D." class="size-medium wp-image-44512" height="196" src="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Weapons-320x196.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="320" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Weapon scans. Image courtesy 2h3D.</span></div>
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<span style="background-color: white;">2h3D completed digital capture of assets for the film, including sets and locations, bodies, costumes, vehicles and props. The company was on-hand at locations in Malta, Hungary, Scotland, England and at the Shepperton and Elstree studios. Here’s a breakdown of their location-based work:</span></div>
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<span style="background-color: white;"><strong>Malta</strong>: 2h3D director and head of scanning Guy Hauldren says, “LIDAR scans were made of a multitude of key locations, including the network of streets and alleys in Valetta, the entirety of the Busland set which even stretched the 300m range of the scanning system, the airport, Fort St Elmo and Fort Ricasoli. The two forts in particular saw considerable action, requiring the sets to be scanned twice before and after. Also scanned were a ‘hero’ bus to provide a collision object for the scene where zombies overturn it, and a Dauphin helicopter for the crash scene at Fort Ricasoli, along with various set elements, fences, checkpoints, cars and assorted debris.”</span></div>
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<span style="background-color: white;">Scans of props were also made and included M16 and Tavor assault rifles, plus military equipment. Body scans were made of extras and stunt performers both in body stockings and full costumers. “The youngest actor scanned was around 6 years old, the oldest being in her 70s!,” says Hauldren.</span></div>
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<span style="background-color: white;"><strong>Glasgow</strong>: For Glasgow locations (that would double as Philadelphia), 2h3D scanned George Square with LIDAR, along with zombie extras and stunt performers.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_AldershotRoof.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Apartment rooftop mesh. Image courtesy 2h3D." class=" wp-image-44510 " height="394" src="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_AldershotRoof.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="640" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Apartment rooftop mesh. Image courtesy 2h3D.</span></div>
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<span style="background-color: white;"><strong>Hungary</strong>: Scanning took place at the deserted Tin Factory on the outskirts of Budapest. “A large square in the center of the factory complex and a long street nicknamed ‘The Meatgrinder’ were selected to be LIDAR scanned in their entirety,” states Hauldren. This was combined with the scanning of around 100 extras and stunt performers both in and out of costume, plus a large variety of improvised weaponry that the defenders utilized in their defense against the zombie onslaught.”</span></div>
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<span style="background-color: white;"><strong>Falmouth</strong>: Additional scanning work by 2h3D involved the main deck and upper gantries of the RFA Argus at Falmouth (this was used the escort of the refugee fleet that Gerry and his family escape to).</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Costumes.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Costume meshes. Image courtesy 2h3D." class=" wp-image-44519 " height="405" src="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Costumes.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="640" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Costume meshes. Image courtesy 2h3D.</span></div>
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<span style="background-color: white;"><strong>Shepperton Studios</strong>: Further studio scans of the interior of the airbus, passenger and zombie extras and baggage took place for the grenade explosion sequence.</span></div>
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<span style="background-color: white;"><strong>Bracknell Forest</strong>: This was the location of the airbus crash, which was also LIDAR’d for crash elements and the debris field.</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_A320_ExplosionHole.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Interior of plane. Image courtesy 2h3D" class=" wp-image-44509 " height="394" src="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_A320_ExplosionHole.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="640" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Interior of plane mesh from scan. Image courtesy 2h3D</span></div>
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<span style="background-color: white;"><strong>Elstree Studio</strong>: Four levels of stairwell were constructed and then LIDAR’d as part of the rooftop escape.</span></div>
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<span style="background-color: white;"><strong>Aldershot</strong>: A replica of the tower block roof where the helicopter rescues Gerry and his family was built and surrounded with a green screen. “The entirety of this set was scanned,” explains Hauldren, “along with additional capture of the score of zombie extras that chase the Lane family, only to go plummeting from the roof as the helicopter makes its escape.”</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_27_028_jre__0450.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="A final shot from the rooftop escape." class=" wp-image-44344 " height="331" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_27_028_jre__0450-1024x552.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="614" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">A final shot from the rooftop escape.</span></div>
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<span style="background-color: white;"><strong>Heygate Estate</strong>: Here, 2h3D scanned external tower block features along with even more extras and costumes.</span></div>
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<span style="background-color: white;"><strong>Dunsfold</strong>: “Usually seen on the TV series Top Gear,” notes Hauldren, “this location doubled for some of the air field shots in Korea. 2h3D worked over a number of nights to scan numerous extras in make-up and costume.”</span></div>
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<span style="background-color: white;">Around 100 finished assets were delivered to MPC and Cinesite, based on scans by Hauldren and Charlie Gunn from 2h3D. Their tools included a Leica (LIDAR scanning) and Artec (body, costume and prop scanning). 2h3D worked with James Kelly at MPC and Aviv Yaron at Cinesite who were operating texture capture booths alongside 2h3D’s body and costume scanning efforts. “The steady stream of zombies and extras filed out of texture capture to scanning (or vice versa) on countless days and nights of scanning and photography,” says Hauldren, “and the combination of our geometry and their digital textures helped to create the digital doubles and textured environments that are seen in the final feature.”</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Vehicles.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Bus and helicopter meshes. Image courtesy 2h3D" class=" wp-image-44511 " height="394" src="http://www.fxguide.com/wp-content/uploads/2013/06/2h3D_WWZ_Vehicles.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="640" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Bus and helicopter meshes. Image courtesy 2h3D</span></div>
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<span style="background-color: white;">4DMax</span></h5>
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<span style="background-color: white;">4DMax helped MPC with their digital human and zombie work. The enormous scale of the zombie hordes required a different approach to the usual scanning and modeling pipeline. “It was simply going to be too costly and too time consuming to scan and model the thousands of zombie characters when they were on set,” says 4DMax President Duncan Lees. “Furthermore, many more were going to be needed in the digital crowd extensions than there were appearing on the shoot.”</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/4DMax-WWZ-015.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="A view of the Jerusalem set of World War Z (courtest 4DMax)." class=" wp-image-44401 " height="420" src="http://www.fxguide.com/wp-content/uploads/2013/06/4DMax-WWZ-015.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="560" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">A view of the Jerusalem set of World War Z (courtesy 4DMax).</span></div>
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<span style="background-color: white;">The approach, then, was to cyberscan a number of digital material swatches of male and female clothing that the MPC artists could then combine for the many, many zombies. 4DMax used Mephisto Cyber scanning systems for the task. These captured both high precision geometry, used for creating the folds of the clothing and displacement maps, and full color 6K texture maps. “Head of Operations at 4DMax, Louise Brand, used these Mephisto scanners to capture hundreds of different items of clothing and process these into individual swatches and this digital ‘clothing bank’ was delivered to the character modellers at MPC,” says Lees.</span></div>
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<span style="background-color: white;">4DMax was also on-set in Malta performing 3D surveying and data wrangling work. “The daily tasks involved surveying various films sets, action movement, camera locations and witness camera locations,” explains Lees. “Rich Wills of 4DMax worked on a number of different sets in Malta including the huge ‘Bus Lands’ set. Bus Lands was the evacuation area in Israel, a huge set had been constructed in the docklands area of Malta. The work here involved creating CAD wire frame models of the incredible film set that had been constructed, using a Leica Reflectorless Total Station.”</span></div>
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<span style="background-color: white;">See part of the bus shot in this featurette.</span></div>
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<span style="background-color: white;">“The set included military look out towers, gantries, huge wire mesh fences, turnstiles and lots of cars and buses,” adds Lees. “Three main camera locations needed to be surveyed along with witness camera positions, these needed to be re-surveyed for each ‘take’ and the start and end locations of the buses that get pushed sideways by the zombie horde. Giant fork lift trucks pushed the buses during filming, these were then removed by the VFX department and replaced by zombies. Dozens of cars pushed by more zombies were dragged on chains by a huge loading shovel machine and over 900 people ran in panic during filming.”</span></div>
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<span style="background-color: white;">Lees notes that this movement required coordinating and as a surveyor on these kinds of sets, 4DMax needed to be quick and able to set up in many different places and be prepared to move. “All scenes required quick and accurate surveying and data needed to be delivered quickly once completed,” he says. “The data format needed to be used in Autodesk Maya software and the data needed to contain all the correct information, including scene number, take and location.”</span></div>
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<span style="background-color: white;">4. Stereo conversion: Prime Focus</span></h3>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/pg_29_028_jre__0500.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="A shot from the roof escape." class="size-medium wp-image-44343" height="178" src="http://www.fxguide.com/wp-content/uploads/2013/06/pg_29_028_jre__0500-320x178.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="320" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">A shot from the roof escape. VFX by Cinesite.</span></div>
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<span style="background-color: white;">Prime Focus was the lead post stereo conversion house for <em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">World War Z</em>, under the supervision of Paramount’s VP Post Production, Corey Turner, delivering over 2000 shots with its proprietary View-D process and artists working in London and Mumbai. Cinesite also completed stereo conversion of visual effects shots.</span></div>
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<span style="background-color: white;">“It was all about depth to enhance the narrative impact and emotional arc of the film, and equally to make the audience feel it,” says Matthew Bristowe, Senior VP, Production, View-D. “There’s nothing conservative about the depth in the film.”</span></div>
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<span style="background-color: white;">“In the opening scenes where the camera is lingering longer, it was an opportunity to play more depth into those moments,” adds Richard Baker, Prime Focus’ Creative Director & Senior Stereographer. “Then in the crazy zombie moments we would bring in the depth for the zombies that fly in and things we could play into negative space. The depth is deep consistently and then played up in certain moments of the film.”</span></div>
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<span style="background-color: white;">Prime Focus’ View-D system relies on Fusion as its backbone, although the tools have also been ported to Nuke. “The main reason for that is that Fusion is better for handling large amounts of roto splines and polys,” says Baker.</span></div>
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<div class="mejs-button mejs-volume-button mejs-mute" style="background-position: 0px 50%; border: 0px; float: left; font-size: 11px; font-style: inherit; height: 26px; line-height: 11px; list-style-type: none; margin: 0px; padding: 0px; position: relative; vertical-align: baseline; width: 26px;">
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<span class="video-download" style="border: 0px; display: block; font-family: inherit; font-size: 9px; font-style: inherit; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;"><a href="http://www.fxguide.com/download/?force_file=/2013/06/WWZ_gettingout.mp4" style="background-color: white; border: 0px; cursor: pointer; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; text-decoration: none; vertical-align: baseline;"><span style="color: black;">Download Video</span></a></span></div>
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<span style="background-color: white;">Watch a clip from WWZ.</span></div>
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<span style="background-color: white;">A new development on this film was the addition of 3D geometry and assets into the pipeline in addition to the roto spline-based tools. “So for Brad Pitt, we actually modeled his head in geometry which we could use for a lot of mid-shots of him,” explains Baker. “Nearly all those shots we used the head geometry, and we can plug that into our tools and the artist can animate geometry for the head to get more exact stereo. It’s actually a little bit quicker. For me it’s consistency – his head will always look good.”</span></div>
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<span style="background-color: white;">While the lead actor’s stereo moments were always crisp, Corey Turner suggested to Prime Focus that the zombies could be somewhat more distorted. “We would maybe pick the head a little off the shoulders, because it plays well, whereas that would look wrong for Brad,” says Baker.</span></div>
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<span style="background-color: white;">In terms of signature sequences, Baker notes that conversion of the shots of thousands of zombies crawling over each other were incredibly challenging, “even if you get depth maps for those. There’s so much going on in those shots but to make it look really clean to make it look right, right on the edges.”</span></div>
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<a class="fx_colorbox cboxElement" href="http://www.fxguide.com/wp-content/uploads/2013/06/WWZ-02502Rv2.jpg" style="background-color: white; border: 0px; cursor: pointer; display: inline-block; font-family: inherit; font-style: inherit; margin: 0px; outline: none; padding: 0px; position: relative; text-decoration: none; vertical-align: baseline;"><span style="color: black;"><img alt="Inside the apartment building." class="size-medium wp-image-44378" height="213" src="http://www.fxguide.com/wp-content/uploads/2013/06/WWZ-02502Rv2-320x213.jpg" style="border: none; font-family: inherit; font-style: inherit; margin: 5px; padding: 0px; vertical-align: baseline;" width="320" /><span class="zoom-icon" style="background-attachment: scroll; background-image: url(http://www.fxguide.com/wp-content/themes/fxguide3.1/images/ui/zoom.png); background-position: 0% 0%; background-repeat: no-repeat no-repeat; border: 0px; bottom: 15px; display: block; font-family: inherit; font-style: inherit; height: 20px; margin: 0px; padding: 0px; position: absolute; right: 15px; vertical-align: baseline; width: 20px;"></span></span></a><br />
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<span style="background-color: white;">Inside the apartment building.</span></div>
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<span style="background-color: white;">But the most satisfying shots for Baker involved scenes at the Korean military. “Brad is with the NAVY SEALs and there’s an environment with lots of ash,” says Baker. “There were a lot of in-camera particles floating around in some of the shots but not all of them. I presented to Corey a couple of shots where we actually created particles throughout the length of the shot that had floating particles in negative space – 40 or 50 pixels negative. So it was really nice to enhance a scene and add to it like that.”</span></div>
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<span style="background-color: white;">Similarly, Bristowe’s most memorable conversion scene did not necessarily involve the zombies. “My favorite scene is where Brad and his family are holed up in an apartment block which is a really tense sequence. There are lots of long corridors and there’s a sense of danger, which I think is better in 3D. You feel the tension more.”</span></div>
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<em style="background-color: white; border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">All images and clips copyright © 2013 Paramount Pictures. All Rights Reserved.</em></div>
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<span style="background-color: white;"><em style="border: 0px; font-family: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fonte: </em><a href="http://www.fxguide.com/featured/zombie-warfare-world-war-z/">http://www.fxguide.com/featured/zombie-warfare-world-war-z/</a></span></div>
Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-80307777729278869552013-02-13T17:42:00.000-02:002013-02-13T19:57:10.780-02:00Carro sem motorista do Google pode chegar em 5 anos<strong class="titulo-item" style="background-color: white; border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 22px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;"><span style="color: #666666;">Carro autônomo do Google pode chegar aos consumidores em 5 anos</span></strong><br />
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<span style="background-color: white;"><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;">Os carros sem motorista do </span><strong style="border: 0px; color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;">Google</strong><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;"> já circulam por algumas regiões, mas ainda parecem muito longe de chegarem ao consumidor final. A expectativa da empresa, porém, é bem otimista. Anthony Levandowski, gerente de produtos para carros autônomos da companhia, afirma que a gigante planeja lançar esses veículos dentro dos próximos cinco anos.</span><br style="border: 0px; color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;" /><br style="border: 0px; color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;" /><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;">O executivo, </span><a href="http://www.slashgear.com/self-driving-google-car-could-be-available-in-the-next-five-years-11268785/" style="border: 0px; color: #990000; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify; text-decoration: initial;" target="_blank">conforme o Slashgear</a><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;">, destaca que o tipo de tecnologia que será empregada nos carros autônomos para consumidores ainda está sendo estudada.</span></span><br />
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<a href="http://www.adrenaline.uol.com.br/files/upload/noticias/2013/02/risastoider/googlecar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="362" src="http://www.adrenaline.uol.com.br/files/upload/noticias/2013/02/risastoider/googlecar.jpg" width="640" /></a></div>
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<span style="background-color: white;"><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;">O site também nota que, apesar do otimismo do Google, o governo federal pode dificultar um pouco as coisas. Isso porque ainda existe um grande desafio para determinar um padrão de desempenho que seja objetivo e testável para diferentes cenários nos quais podem ocorrer falhas nos sistemas de direção autônoma. </span><br style="border: 0px; color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;" /><br style="border: 0px; color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; list-style: none; margin: 0px; outline: 0px; padding: 0px; text-align: justify;" /><span style="color: #333333; font-family: Tahoma, Verdana, Arial, Helvetica, sans-serif; font-size: 12px; text-align: justify;">Com todos os processos de regulamentação do governo, carros sem motorista podem chegar ao mercado apenas após 2020. Mesmo assim, algumas fabricantes já trabalham em tecnologias para esse tipo de automóvel. Quem apóia a tecnologia afirma que veículos autônomos reduzem os perigos relacionados a motoristas que dirigem com distração e podem resultar em menos acidentes, menos mortes nas estradas e até mesmo diminuir as taxas de seguro.</span></span><br />
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Fonte: http://adrenaline.uol.com.br/tecnologia/noticias/15505/carro-autonomo-do-google-pode-chegar-aos-consumidores-em-5-anos.htmlAnonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com1tag:blogger.com,1999:blog-4388288953579518464.post-52373767773431341352013-02-03T16:00:00.003-02:002013-02-13T17:43:11.829-02:00HAMBUSTER - Animação 3D<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: large;"><span style="color: #660000;">Hambuster </span>- <span style="color: #ea9999;">Animação 3D</span></span></b></div>
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Você pode gostar de um bom lanche em um lugar calmo como um parque ... Mas e se o seu lanche não?<br />
Na rua todo mundo pode ouvi-lo gritar, mas sinceramente quem se importa? Uma Animação 3D de terror, isso mesmo, TERROR! <br />
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<br />Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-81387101472605330302012-10-08T20:31:00.002-03:002012-10-08T20:31:57.788-03:005th Roca International Design Contest Jump the Gap (Concurso)Abertas inscrições para a 5ª edição do concurso internacional de design promovido pela ROCA, o "International Design Contest Jump The Gap" cujo tema do concurso aborda novas ideias e formas de pensar para ambiente do banheiro.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQN99bsgKu8l0bYr9gxEtEFpU5VPCj4X6u5vbmnM4Vr2qSGstjX9WuA1yQTt422CzuAqKQH9TILHA3okibouuNk0xoq_N5sctqtHQTmX11OFpQ5mWhqnjcBlv0rI0NqKmIqVFJOuFmuBl_/s1600/roca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQN99bsgKu8l0bYr9gxEtEFpU5VPCj4X6u5vbmnM4Vr2qSGstjX9WuA1yQTt422CzuAqKQH9TILHA3okibouuNk0xoq_N5sctqtHQTmX11OFpQ5mWhqnjcBlv0rI0NqKmIqVFJOuFmuBl_/s640/roca.jpg" width="640" /></a></div>
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Esse é um concurso que acho que vale a pena participar! Confiram neste link: <a href="http://www.jumpthegap.net/en/page.asp?id=1" target="_blank">Site Concurso</a><br />
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Abraços.<br />
<br />Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-13167514641475468492012-09-24T20:20:00.003-03:002012-09-24T20:20:37.661-03:00YAMAHA BUSCA TALENTOS (Concurso)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIpLVDmEjJ_nAtdO5h-a1-CSTd7xABUzsdDh3nMG0qTJp6v6DVLTQhysvxFYecyxQzt78iY4i-67BS6vAU2zxeelvI1cBu1v8qx4wxKsNHPeFVYb6AzcO5amJjP7Epxaz9P9zyBZdHwQC3/s1600/Publicidade.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIpLVDmEjJ_nAtdO5h-a1-CSTd7xABUzsdDh3nMG0qTJp6v6DVLTQhysvxFYecyxQzt78iY4i-67BS6vAU2zxeelvI1cBu1v8qx4wxKsNHPeFVYb6AzcO5amJjP7Epxaz9P9zyBZdHwQC3/s640/Publicidade.jpg" width="640" /></a></div>
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<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">A YAMAHA Motors lança concurso para estudantes de Design. </span><br />
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<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 20px;">Para se inscrever, basta estar matriculado no ensino superior ou pós graduação. As inscrições e entregas de projetos dão início no dia 1 de agosto e vão até o dia 10 de outubro. Os vencedores serão anunciados durante o Salão da Motocicleta, principal evento do ramo no setor, que acontece de 06 a 11 de Novembro no Pavilhão Imigrantes, onde também será sorteada uma motocicleta 0km entre todos os inscritos.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 20px;">Maiores Informações <a href="http://www.concursobuscatalentos.com.br/" target="_blank">Clique aqui!</a></span></span>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-54552869720269641892012-09-17T21:53:00.004-03:002012-09-17T21:53:53.982-03:00Aerofex Desenvolve Veículo Com Propulsão a Ar (no melhor estilo Star Wars!)<span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 16px;">A pequena aeronave não atinge velocidades muito altas, mas funciona bem para percorrer trajetos curtos.</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: 16px;"><br /></span><br />
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A Aerofex realizou uma pequena demonstração do seu veículo aéreo que utiliza grandes ventoinhas para propulsão. Como você pôde ver no vídeo, a aeronave não é muito estável, mas a sensação de dirigir um veículo semelhante ao que aparece na série Guerra nas Estrelas deve ser no mínimo sensacional.</div>
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Segundo a notícia do <a href="http://www.ubergizmo.com/2012/08/aerofex-hover-vehicle-resembles-star-wars-hover-bike/" style="text-decoration: none;" target="_blank" title="Clique para acessar">Ubergizmo</a>, o veículo teria utilidade para a realização de pequenas rondas ou para o transporte em área rural. Entretanto, a Aerofex não tem planos de fabricar a aeronave em escala industrial. <i>(será?)</i> É interessante notar que não é preciso um curso ou grandes instruções para pilotar, pois os comandos são simplificados.</div>
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Clique em <a href="http://flightlog.aerofex.com/" target="_blank">AEROFLEX</a> e acesse o Blog com videos e mais imagens.<br />
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Até mais!Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-69736648896943527842012-09-10T19:09:00.001-03:002012-09-10T19:09:47.720-03:00Dreamworks Anuncia Data dos Seus Próximos 12 Filmes<br />
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<a href="http://oglobo.globo.com/blogs/animacao/posts/2012/09/10/dreamworks-anuncia-data-dos-seus-proximos-12-filmes-464608.asp" style="color: #33aae4; margin: 0px; padding: 0px; text-decoration: none;">Dreamworks Anuncia Data dos Seus Próximos 12 Filmes</a></h4>
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<img alt="" height="130" src="http://oglobo.globo.com/blogs/arquivos_upload/2012/09/382_1034-DreamWorks.png" style="border: 0px; display: inline; float: left; margin: 0px 10px 0px 0px; padding: 0px;" width="200" />A <strong style="margin: 0px; padding: 0px;">Dreamworks</strong>, ao contrario de todos os outros estúdios de animação, sempre foi conhecida pela sua quantidade acima da média de lançamentos por ano, agora ela acaba de divulgar a lista de suas próximas animações, até 2016.</div>
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No total são <strong style="margin: 0px; padding: 0px;">12 animações</strong>, em média de três filmes por ano, com exceção de 2015 que serão quatro filmes lançados. Esse anuncio veio logo após o fechamento do contrato que o estúdio fez com a <strong style="margin: 0px; padding: 0px;">Fox</strong>, que será a sua nova distribuidora.</div>
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Confiram a lista logo abaixo: </div>
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<strong style="margin: 0px; padding: 0px;">The Croods</strong> – 22 de Março de 2013 </div>
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<strong style="margin: 0px; padding: 0px;"><strong style="margin: 0px; padding: 0px;">Turbo</strong> – </strong>19 de Julho de 2013</div>
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<strong style="margin: 0px; padding: 0px;">Mr. Peabody & Sherman</strong><strong style="margin: 0px; padding: 0px;"> – </strong>1 de Novembro de 2013</div>
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<strong style="margin: 0px; padding: 0px;">Me and My Shadow</strong><strong style="margin: 0px; padding: 0px;"> –</strong> 14 de Março de 2014</div>
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<strong style="margin: 0px; padding: 0px;">Como Treinar o Seu Dragão 2</strong><strong style="margin: 0px; padding: 0px;"> – </strong>20 de Junho de 2014</div>
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<strong style="margin: 0px; padding: 0px;">Happy Smekday!</strong><strong style="margin: 0px; padding: 0px;"> –</strong> 26 de Novembro de 2014</div>
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<strong style="margin: 0px; padding: 0px;">Os Pinguins de Madagascar</strong><strong style="margin: 0px; padding: 0px;"> – </strong>27 de Março de 2015</div>
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<strong style="margin: 0px; padding: 0px;">Trolls </strong><strong style="margin: 0px; padding: 0px;">(título temporário) –</strong> 5 de Junho de 2015</div>
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<strong style="margin: 0px; padding: 0px;">B.O.O: Bureau of Otherworldy Operations</strong><strong style="margin: 0px; padding: 0px;"> –</strong> 5 de Novembro de 2015</div>
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<strong style="margin: 0px; padding: 0px;">Mumbai Musical</strong><strong style="margin: 0px; padding: 0px;"> (títulos temporário) – </strong>19 de Dezembro de 2015</div>
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<strong style="margin: 0px; padding: 0px;">Kung Fu Panda 3</strong><strong style="margin: 0px; padding: 0px;"> – </strong>16 de Março de 2016</div>
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<strong style="margin: 0px; padding: 0px;">Como Treinar o Seu Dragão 3</strong><strong style="margin: 0px; padding: 0px;"> –</strong> 18 de Junho de 2016 </div>
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Esta lista estão apenas as animações que a Fox irá distribuir, começando apenas em 2013. Ainda em 2012 a Dreamworks irá lançar a animação "<strong style="margin: 0px; padding: 0px;">A Origem dos Dragões</strong>", que será o último filme distribuído pela <strong style="margin: 0px; padding: 0px;">Paramount</strong>. O filme chega no Brasil no dia 30 de Novembro.</div>
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<img alt="" height="171" src="http://oglobo.globo.com/blogs/arquivos_upload/2012/09/382_1035-alt-how-to-train-your-dragon-48.jpg" style="border: 0px; display: inline; float: left; margin: 0px 10px 0px 0px; padding: 0px;" width="250" />Umas das grandes novidades dessa lista é a data de "<strong style="margin: 0px; padding: 0px;">Como Treinar o Seu Dragão 3</strong>", flime que todo mundo já esperava que seria lançado mas essa é a primeira vez que o estúdio fala oficialmente sobre o fechamento dessa trilogia.</div>
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Outro ponto a se comentar é sobre "<strong style="margin: 0px; padding: 0px;">Megamente</strong>", alguns boatos sugeriam que o estúdio estava planejando uma continuação, porem ele não aparece nessa lista.</div>
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Por enquanto é "só", esperamos que a Dreamworks não faça besteira, lançar tantos filmes assim por ano tem muitas chances de dar errado. Mas ficaremos aqui torcendo!</div>
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<img alt="" src="http://oglobo.globo.com/blogs/arquivos_upload/2012/08/382_2149-animaldicoados2.jpg" style="border: 0px; display: inline; float: left; margin: 0px 10px 0px 0px; padding: 0px;" />E não esqueçam: o <strong style="margin: 0px; padding: 0px;"><span style="color: maroon; margin: 0px; padding: 0px;">Animaldiçoados 2012</span></strong> já chegou!! O Festival Internacional de Horror começou no dia <strong style="margin: 0px; padding: 0px;">7 de Setembro</strong> nas cidades do<strong style="margin: 0px; padding: 0px;"> <span style="color: maroon; margin: 0px; padding: 0px;">Rio de Janeiro</span> </strong>e <span style="color: maroon; font-weight: bold; margin: 0px; padding: 0px;">Niterói</span><span style="margin: 0px; padding: 0px;"> e vai até o dia <strong style="margin: 0px; padding: 0px;">16 de Setembro</strong></span>. Confiram a programação completa e todos os detalhes no <a href="http://www.animaldicoados.com/" style="color: #bf4c0d; margin: 0px; padding: 0px; text-decoration: none;" target="_blank">site oficial do festival</a>.</div>
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Até mais!</div>
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Fonte:<a href="http://oglobo.globo.com/blogs/animacao/posts/2012/09/10/dreamworks-anuncia-data-dos-seus-proximos-12-filmes-464608.asp" style="background-color: transparent;">http://oglobo.globo.com/blogs/animacao/posts/2012/09/10/dreamworks-anuncia-data-dos-seus-proximos-12-filmes-464608.asp</a></div>
Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-19572912602395566502012-08-07T00:29:00.000-03:002012-08-07T00:29:14.280-03:00Como Denunciar Sites Falsos Através de Qualquer Navegador<br />
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Hoje mais uma vez recebi spam de sites falsos que vendem produtos falsos. Como já estou farto disso resolvi buscar informações de como proceder a respeito. Bom, descobri que existem ferramentas de denuncia desses sites fraudulentos que podemos utilizar.</h3>
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<span style="font-weight: normal;"><span style="font-size: xx-small;">Fonte da matéria em <a href="http://depoisdas10.com/como-denunciar-sites-falsos-phishing/" style="background-color: transparent;">http://depoisdas10.com/como-denunciar-sites-falsos-phishing/</a> </span></span></h3>
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<strong style="margin: 0px; padding: 0px;">Infelizmente basta estar na internet para estar vulnerável</strong>, alguém pode fazer um <strong style="margin: 0px; padding: 0px;">clone seu no Orkut</strong> em poucos minutos, te enviarem e-mails com as últimas fotos.EXE, você pode estar tendo suas tecladas monitoraras como uma espécie de <strong style="margin: 0px; padding: 0px;">BBB</strong> online e uma das piores situações é que você pode ser enganado por algum site falso, que tenta imitar algum site original tentando com isso obter dados sigilosos como suas senhas de banco.</div>
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Mas o que são esses sites falsos?</h3>
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Sites falsos são feitos baseados em algum site mais famoso tentando com isso obter seus dados. Essa técnica de clonagem se chama <strong style="margin: 0px; padding: 0px;">phishing</strong>.</div>
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<a href="http://pt.wikipedia.org/wiki/Phishing" style="color: #3b5998; margin: 0px; padding: 0px; text-decoration: none;" target="_blank">Phishing de acordo com a Wikipédia</a>:</div>
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É tipo de fraude eletrônica projetada para roubar informações particulares que sejam valiosas para cometer um roubo ou fraude posteriormente. O golpe de phishing (também conhecido como phishing scam, ou apenas scam) é realizado por uma pessoa mal-intencionada através da criação de um website falso e/ou do envio de uma mensagem eletrônica falsa, geralmente um e-mail ou recado através de scrapbooks como no sítio Orkut, entre outros exemplos. Utilizando de pretextos falsos, tenta enganar o receptor da mensagem e induzi-lo a fornecer informações sensíveis (números de cartões de crédito, senhas, dados de contas bancárias, entre outras). Uma variante mais atual é o Pharming. Nele, o usuário é induzido a baixar e executar arquivos que permitam o roubo futuro de informações ou o acesso não autorizado ao sistema da vítima, podendo até mesmo redirecionar a página da instituição (financeira ou não) para os sites falsificados.</div>
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Para combater esse tipo de fraude empresas como o <a href="http://google.com.br/" style="color: #3b5998; margin: 0px; padding: 0px; text-decoration: none;" target="_blank"><strong style="margin: 0px; padding: 0px;">Google</strong></a> e <a href="http://www.microsoft.com.br/" style="color: #3b5998; margin: 0px; padding: 0px; text-decoration: none;" target="_blank"><strong style="margin: 0px; padding: 0px;">Microsoft</strong></a> oferecem maneiras de <strong style="margin: 0px; padding: 0px;">denunciar esses sites falsos</strong>.</div>
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Isso é feito pelo próprio navegador e você verá agora <strong style="margin: 0px; padding: 0px;">como denunciar através do Internet Explorer 7, Firefox e qualquer outro navegador</strong>.</div>
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Como denunciar sites falsos através do Internet Explorer 7</h3>
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Quando você acessar e identificar um site falso pelo Internet Explorer basta clicar no menu<strong style="margin: 0px; padding: 0px;">Ferramentas > Filtro de Phishing > Relatar o Site</strong></div>
<div style="margin: 0px; padding: 0px; text-align: center;">
<img alt="" class="artigo" height="328" src="http://depoisdas10.com/wp-content/uploads/2008/09/denunciar_site03_.jpg" style="border: none; margin: 0px; padding: 0px;" title="Denunciar pelo IE7" width="500" /></div>
<div style="margin-bottom: 10px; padding: 0px;">
Após clicar nesse menu você será direcionado até uma página da <a href="http://www.microsoft.com.br/" style="color: #3b5998; margin: 0px; padding: 0px; text-decoration: none;"><strong style="margin: 0px; padding: 0px;">Microsoft</strong></a> para denúncia de sites falsos.</div>
<div style="margin: 0px; padding: 0px; text-align: center;">
<img alt="" class="artigo" height="546" src="http://depoisdas10.com/wp-content/uploads/2008/09/denunciar_site04_.jpg" style="border: none; margin: 0px; padding: 0px;" title="Denunciar pelo IE7" width="500" /></div>
<div style="margin-bottom: 10px; padding: 0px;">
Você terá que digitar os caracteres que aparecem em uma imagem e clicar em enviar.</div>
<h3 style="font-size: 14px; margin: 0px; padding: 0px;">
Como denunciar sites falsos através do Firefox</h3>
<div style="margin-bottom: 10px; padding: 0px;">
Quando você acessar e identificar um site falso pelo Firefox, vá até o menu <strong style="margin: 0px; padding: 0px;">Ajuda > Denunciar site como fraude…</strong></div>
<div style="margin: 0px; padding: 0px; text-align: center;">
<img alt="" class="artigo" height="204" src="http://depoisdas10.com/wp-content/uploads/2008/09/denunciar_site01_.jpg" style="border: none; margin: 0px; padding: 0px;" title="Denunciar pelo Firefox" width="500" /></div>
<div style="margin-bottom: 10px; padding: 0px;">
Após clicar nesse menu você será direcionado até uma página do <a href="http://google.com.br/" style="color: #3b5998; margin: 0px; padding: 0px; text-decoration: none;" target="_blank"><strong style="margin: 0px; padding: 0px;">Google</strong></a> para denúncia de sites falsos.</div>
<div style="margin: 0px; padding: 0px; text-align: center;">
<img alt="" class="artigo" height="709" src="http://depoisdas10.com/wp-content/uploads/2008/09/denunciar_site02_.jpg" style="border: none; margin: 0px; padding: 0px;" title="Denunciar pelo Firefox" width="500" /></div>
<div style="margin-bottom: 10px; padding: 0px;">
Você terá que digitar os caracteres que aparecem em uma imagem e se desejar você poderá fazer um comentário.</div>
<br />
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
<br /></div>
</div>
<h3 style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 14px; line-height: 17px; margin: 0px; padding: 0px; text-align: left;">
Como denunciar sites falsos através de qualquer navegador</h3>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
Para denunciar através de qualquer outro navegador você poderá tanto usar o site do Google como o da Microsoft.</div>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
Pelo site da Google acesse http://www.google.com/safebrowsing/report_phish/?hl=pt-BR e informe a URL, digite os caracteres que aparecem na imagem, se desejar faça um comentário e envie a denúncia.</div>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
Pelo site da Microsoft acesse https://phishingfilter.microsoft.com/feedback.aspx?result=none&URL=[URL DO SITE] trocando o [URL DO SITE] para a URL do site a ser denunciado, informe os caracteres que aparecem na imagem e clique em enviar.</div>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
Veja o que acontece se eu entrar pelo Firefox em uma página denunciada.</div>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin: 0px; padding: 0px; text-align: center;">
<img alt="" class="artigo" height="447" src="http://depoisdas10.com/wp-content/uploads/2008/09/denunciar_site05_.jpg" style="border: none; margin: 0px; padding: 0px;" title="Página denunciada" width="500" /></div>
<div style="background-color: white; color: #333333; font-family: Verdana, Tahoma, 'BitStream vera Sans', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 17px; margin-bottom: 10px; padding: 0px; text-align: left;">
Pronto pessoal. Com isso você está ajudando a todos que por algum motivo entrem nesses sites falsos.</div>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-46305942222169795862012-06-13T21:22:00.001-03:002012-06-13T21:23:26.817-03:00FOTOGRAFIA E SEUS CONCEITOS<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFDlraGWEKa7y4gT0g7TlCUn0rGmWRKsXj2ygKHffHuXIgxm7PIkKhyMH1oP5m4CzJSnUuoMiwst8CfQCA05Bi-WW1kbD5tPRPotXD1LlHfbf33_LGMjxOhI3qaQhOQFfHXcFoV7UYhTr/s1600/Baner+reflex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="83" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFDlraGWEKa7y4gT0g7TlCUn0rGmWRKsXj2ygKHffHuXIgxm7PIkKhyMH1oP5m4CzJSnUuoMiwst8CfQCA05Bi-WW1kbD5tPRPotXD1LlHfbf33_LGMjxOhI3qaQhOQFfHXcFoV7UYhTr/s640/Baner+reflex.jpg" width="640" /></a></div>
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<span style="font-size: large;"><b>FOTOGRAFIA E SEUS CONCEITOS</b></span></div>
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<span style="font-size: large;"><span style="font-size: x-small;">Mais um ótimo conteúdo sobre o assunto.</span></span></div>
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<span style="font-size: large;"><span style="font-size: x-small;"><a href="http://www.adolfo.trinca.name/wordpress/index.php/2012/04/18/capire-lesposizione/" target="_blank">Original Aqui!</a> </span><b> </b></span></div>
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Mettiamo il caso voi foste dei novizi in fatto di fotografia e vi
trovaste di fronte ai simboli che vedete nella foto qui a
sinitra…geroglifici vero? Per non parlare poi di parolacce come
esposizione, iso, stop, diaframmi aperture e via discorrendo.<br />
Con questo post intendo darvi qualche dritta cercando di non essere
prolisso con esempi immagini ed anche una bellissima applet alla fine
del post con la quel potrete esercitarvi su quanto appreso. Iniziamo?<br />
<br />
<h2>
Il Triangolo dell’esposizione</h2>
Prima di andare avanti e cercare di spiagare i modi di funzionamento
della vostra macchina fotografica è doveroso fare una chiacchierata su
quello che viene chiamato il triangolo dell’esposizione ovvero la
combinazione di tre fattori, apertura del diaframma, sensibilità iso e
velocità dell’otturatore. Tutto questo per capire poi come la macchina
governa questi parametri attraverso l’uso dei modi operativi.<br />
Ognuno di questi tre elementi del triangolo si riferisce alla <b>luce</b> e al modo in cui entra e interagisce con la fotocamera (sensore o pellicola) e abbiamo detto che sono:<br />
1. <b>ISO</b><a href="http://www.fotografia-digitale.info/principi/42/introduzione-al-concetto-di-iso-in-fotografia-digitale/" target="_blank"> </a>- la misura della sensibilità alla luce del sensore/pellicola.<br />
2. <b>APERTURA </b>– la dimensione dell’apertura del diaframma all’interno dell’obiettivo al momento dello scatto della foto<br />
3. <b>VELOCITA’ DELL’OTTURATORE</b> – il tempo durante il quale l’otturatore della macchina rimane aperto (date una letta a <a href="http://www.adolfo.trinca.name/wordpress/index.php/2009/03/06/lotturatore/" target="_blank">questo vecchio articolo</a> da cui ho ripreso alcune parti)<br />
Dall’intersezione di questi elementi si ricava quella che è definita l’<b>esposizione di un’immagine</b>.<br />
<a href="http://www.adolfo.trinca.name/public/2012/04/exposure-triangle-550x3911.png"><img alt="" class="alignleft size-full wp-image-8867" height="241" src="http://www.adolfo.trinca.name/public/2012/04/exposure-triangle-550x3911.png" title="exposure triangle" width="414" /></a>Tenete
sempre presente che cambiando uno di questi tre elementi influenzerà
anche gli altri, dal momento che sono strettamente dipendenti l’uno
dall’altro. Quindi quando si regola ognuno di essi, bisognerà
inevitabilmente adeguare gli altri due cosi da compensare l’esposizione e
riportarla al valore “corretto” (o meglio a quello voluto).<br />
<h3>
Velocità dell’otturatore</h3>
Solitamente è quello dei tre componenti del triangolo che viene
frainteso. La velocità dell’otturatore non è altro che il tempo nel
quale la tendina che nasconde il sensore, che poi non è una ma son due
le tendine da aprire e chiedere, rimane aperto e permette alla luce di
raggiungere il sensore o la pellicola.<br />
Esistono vari tipi di otturatori ma quello che ora è più usato è
quello a tendina (qui sotto) e quindi spesse volte si usa il termine di
tendina come sinonimo di otturatore.<br />
<img alt="le-tendine-quando-si-scatta" class="alignnone size-full wp-image-2050" height="245" src="http://www.adolfo.trinca.name/public/2009/03/le-tendine-quando-si-scatta.gif" title="le-tendine-quando-si-scatta" width="600" /><br />
Nella seconda immagine qui sotto mostra le tendine in azione a velocita (e tempi) diversi, da uno più lento ad uno più veloce.<br />
<img alt="fastshutteranimation" class="alignnone size-full wp-image-2056" height="245" src="http://www.adolfo.trinca.name/public/2009/03/fastshutteranimation.gif" title="fastshutteranimation" width="600" /><br />
n.b.: le due animazioni qui sopra sono state prese da <a href="http://digital-photography-school.com/photography-1016-shutter" target="_blank">Digital Photographic School</a> che ringraziamo per la pazienza e generosità.<br />
Tornando a noi, più a lungo l’otturatore resta aperta e maggiore sarà
il tempo in cui il sensore/pellicola sarà esposto alla luce. Questo
significa, come potete dedurre dalle suddette animazioni, che ad un
tempo minore (o veloce) di apertura corrisponde una minore quantità di
luce che passerà al sensore/pellicola.<br />
<a href="http://www.blogger.com/blogger.g?blogID=4388288953579518464" name="speedexample"></a>Se userete un tempo molto veloce, ad
esempio 1/1000 di secondo, il sensore rimarrà esposto alla luce per
pochissimo tempo e di conseguenza congelerete l’azione.<br />
<div class="wp-caption alignnone" id="attachment_8880" style="width: 510px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/2549966287_99c3d5784d_o.jpg"><img alt="" class="size-full wp-image-8880" height="630" src="http://www.adolfo.trinca.name/public/2012/04/2549966287_99c3d5784d_o.jpg" title="Stooooooop!" width="500" /></a><br />
<div class="wp-caption-text">
Nikon D80, Esposizione 1/750 sec, Apertura f/5,6, ISO 800 con focale 300mm</div>
</div>
Viceversa utilizzando un tempo lungo, ad esempio 1/2 o addirittura un
secondo, lascerete l’otturatore aperto per un sacco di tempo e per un
sacco di tempo la pellicola/sensore rimarrà esposto alla luce. Quando
fotograferete con tempi cosi lunghi gli oggetti in movimento appariranno
“mossi”.<br />
<div class="wp-caption alignnone" id="attachment_8879" style="width: 510px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/3824544182_d24ff6bbe0.jpg"><img alt="" class="size-full wp-image-8879 " height="334" src="http://www.adolfo.trinca.name/public/2012/04/3824544182_d24ff6bbe0.jpg" title="Tempi lunghi, mosso creativo" width="500" /></a><br />
<div class="wp-caption-text">
Nikon D80, Esposizione 1/10 sec, Apertura f/22, ISO 200 con focale 18mm</div>
</div>
Per concludere sull’otturatore, vi consiglio di andare a dare un’occhiata a <a href="http://regex.info/blog/2008-09-04/925" target="_blank">questa bellissima animazione</a> su <a href="http://regex.info/blog/">Jeffrey Friedl’s Blog</a> (passate il mouse sopra l’immagine), in cui si vede benissimo come funziona il tutto su una Nikon D3. Spettacolare non trovate?<br />
Scrissi un post sul mosso creativo, lo potete trvare qui: <a href="http://www.adolfo.trinca.name/wordpress/index.php/2010/11/11/motion-blur-o-se-preferite-mosso-creativo/" target="_blank">Motion blur o se preferite mosso Creativo</a>.<br />
<h3>
Apertura</h3>
<div class="wp-caption alignleft" id="attachment_8886" style="width: 253px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/aperture-anim.gif"><img alt="" class="size-full wp-image-8886 " height="244" src="http://www.adolfo.trinca.name/public/2012/04/aperture-anim.gif" title="diaframma" width="243" /></a><br />
<div class="wp-caption-text">
Il movimento delle lamelle da luogo a quel "fenomeno" detto apertura</div>
</div>
<div class="wp-caption alignleft" id="attachment_8891" style="width: 370px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/illustration-how-aperture-works-1.gif"><img alt="" class="size-full wp-image-8891 " height="340" src="http://www.adolfo.trinca.name/public/2012/04/illustration-how-aperture-works-1.gif" title="illustration-how-aperture-works-1" width="360" /></a><br />
<div class="wp-caption-text">
via HowStuffWorks.com</div>
</div>
All’interno di ogni obiettivo ci sono delle lamelle che sembrano
delle “pale”. Queste lamelle aprendosi e chiudendosi danno luogo a
quella che comunemente viene chiamata l’apertura, ovviamente anch’essa
contribuisce all’esposizione controllando la quantità di luce che passa
attraverso la lente e che arriva al sensore/pellicola.<br />
Queste lamelle del diaframma possono essere chiuse un po per
consentire a meno luce di entrare o aperte un po di più per consentire
ad una maggiore quantità di luce di passare. Ogni obiettivo, però, ha
dei limiti di apertura, e vedrete che quelli con maggiore apertura (f
1.4 o f 2.8 ad esempio) sono molto più costosi di quelli con aperture
più alte.<br />
L’apertura è anche responsabile della profondità di campo ovvero la
zona o porzione di immagine che risulta correttamente a fuoco.<br />
<div class="wp-caption alignleft" id="attachment_8888" style="width: 370px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/illustration-how-aperture-works-2.gif"><img alt="" class="size-full wp-image-8888 " height="410" src="http://www.adolfo.trinca.name/public/2012/04/illustration-how-aperture-works-2.gif" title="illustration-how-aperture-works-2" width="360" /></a><br />
<div class="wp-caption-text">
via HowStuffWorks.com</div>
</div>
Immaginate una persona in piedi di fronte a una libreria. Se si
utilizza un diaframma aperto come f/2, il volto della persona sarà messo
a fuoco mentre la libreria risulterà sfuocata. Questo “fenomeno” si
chiama <b>profondità di campo (depth of field)</b>. Al contrario, se si utilizza un diaframma chiuso, come f/16, sia la libreria che il viso della persona saranno a fuoco.<br />
Un’altra cosa influenzata dell’apertura o meno del diaframma e la <b>nitidezza delle immagini</b>
ottenute. Ogni obiettivo lavora al massimo dei dettagli ad una
determinata apertura di diaframma. Solitamente le migliori performance
si ottengono 1 o 2 stop in meno rispetto alla maggior apertura concessa
dalla lente. Ad esempio se con un obiettivo 18-55mm f/3.5-5.6 scatti
alla lunghezza di 55mm, l’apertura migliore per catturare più dettagli
va da f/8 a f/11.<br />
Per approfondire la questione nitidezza potete fare riferimento a questo “vecchio” post: <a href="http://www.adolfo.trinca.name/wordpress/index.php/2011/08/17/come-ottenere-il-massimo-dettaglio-nelle-proprie-foto/" target="_blank">Come ottenere il massimo dettaglio nelle proprie foto</a>.<br />
<a href="http://www.blogger.com/blogger.g?blogID=4388288953579518464" name="depthexample"></a>L’immagine sottostante è stata ripresa con
un obiettivo 105mm macro a f2.8 e come vedete la profondità di campo è
davvero minima!<br />
<div class="wp-caption alignnone" id="attachment_8901" style="width: 1034px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/6985741425_4c08c7537b_b.jpg"><img alt="" class="wp-image-8901 " height="425" src="http://www.adolfo.trinca.name/public/2012/04/6985741425_4c08c7537b_b.jpg" title="mortaa" width="640" /></a><br />
<div class="wp-caption-text">
Nikon D300, Esposizione 1/500 sec, Apertura f/2.8, ISO 200 con focale 105mm (macro)</div>
</div>
<div>
<div class="wp-caption alignnone" id="attachment_8905" style="width: 1034px;">
<a href="http://www.adolfo.trinca.name/public/2012/04/5687120850_09950566b7_b.jpg"><img alt="" class="size-full wp-image-8905" height="425" src="http://www.adolfo.trinca.name/public/2012/04/5687120850_09950566b7_b.jpg" title="ferrarino" width="640" /></a><br />
<div class="wp-caption-text">
Nikon D300, Esposizione 1/400 sec, Apertura f/10, ISO 200 con focale 11mm</div>
</div>
</div>
<h3>
ISO</h3>
Con il termine ISO si intende la sensibilità complessiva
dell’elemento sensibile, sia esso sensore digitale o pellicola, alla
luce.<br />
In particolare nella fotografia chimica (pellicola) <i>ISO è l’indice utilizzato per determinare la sensibilità dell’emulsione utilizzata</i>. I valori più comunemente impiegati sono: 50, 100, 125, 160, 200, 400, 800, 1000 e 1600. <b><i>Quanto più questo numero è basso, tanto meno la pellicola è sensibile (veloce)</i></b> e
le dimensioni dei grani di alogenuro d’argento che la compongono
risultano fini. Aumentando le dimensioni dei cristalli fotosensibili,
incrementiamo la “capacità ricettiva” della pellicola, la rendiamo più
sensibile alla luce ma, ahimè, accresciamo di conseguenza la sua
“granulosità” e la perdita di dettaglio che questa cosa comporta.<br />
Nel digitale i grandi d’argento sono stati sostituiti dai fotodiodi e
la rumorosità data dalla grandezza dei grani stessi con il cosi detto
rumore digitale. Ma andiamo per ordine.<br />
Avrete sentito dire centinaio di volte credo che nella fotografia digitale l’indice <i>ISO misura la sensibilità del sensore</i>. Bene è una gran cazzata.<br />
<blockquote>
Il sensore delle nostre reflex digitali, molto
sommariamente, è fatto da tutta una serie di fotodiodi (sensibili alla
luce) che si caricano a seconda della quantità di radiazione luminosa
che li colpisce. Questo valore (analogico) viene poi convertito in
digitale da un apposito convertitore analogico/digitale il quale
trasforma appunto la tensione risultante in un numero, di solito di 12
o 14 “cifre” (bit). Il trucco è quello di <b>rendersi conto che la sensibilità/efficienza del sensore o dei vari fotodiodi non cambia quando si modifica il numero ISO</b>. Quello che cambia è la quantità di amplificazione che il convertitore A/D applicherà.</blockquote>
Andate a leggere il mio vecchio post <a href="http://www.adolfo.trinca.name/wordpress/index.php/2011/05/04/iso-base-e-minor-rumore/" target="_blank">ISO base e minor rumore</a> da dove questa citazione è presa.<br />
Come dicevamo nel digitale il rumore esiste ancora e come nella
fotografia chimica aumenta con l’aumentare del valore iso. Fortuna che
ci sono molti modi per limitarne l’effetto ed altri per introdurlo
artificialmente qual’ora lo si ritenesse una soluzione “artisticamente”
valida.<br />
<div class="wp-caption alignnone" style="width: 952px;">
<img alt="" height="288" src="http://www.adolfo.trinca.name/public/2009/02/riduzione_rumore_digitale.jpg" width="640" /><br />
<div class="wp-caption-text">
Immagine con e senza rumore</div>
</div>
Potreste leggere:<br />
<ul>
<li><a href="http://www.adolfo.trinca.name/wordpress/index.php/2009/02/02/photoshop-come-eliminare-il-rumore-da-iso-alti/" target="_blank">Photoshop: come eliminare il rumore da iso alti</a></li>
<li><a href="http://www.adolfo.trinca.name/wordpress/index.php/2009/10/16/netimage-ridurre-il-rumore-digitale/" target="_blank">Netimage: ridurre il rumore digitale</a></li>
<li><a href="http://www.adolfo.trinca.name/wordpress/index.php/2010/06/01/gimp-come-eliminare-il-rumore-digitale-iso-alti/" target="_blank">Gimp: come eliminare il rumore digitale iso alti</a></li>
</ul>
<h4>
Aumento gli ISO o uso il flash?</h4>
E’ una domanda che mi è stata posta più di qualche volta e la
risposta è tutt’altro che semplice e prevederebbe anche una lunga
discussione sugli illuminatori, non fatemi sentire “con il flash le foto
sono brutte” che v’accoppo!<br />
Ci sono molte cose da considerare per decidere se in una fotografia è
meglio aumentare gli ISO o utilizzare il flash m vi faccio un
esempio. Il flash, per potente che sia, non può andare oltre una certa
distanza per cui, ad esempio, è inutile usarlo per per fotografare
paesaggi o oggetti più lontani di alcuni metri.<br />
In quei casi, parliamo di paesaggi, l’ideale è non usare il flash,
tenere gli ISO bassi, aumentare il tempo di esposizione e mettere la
macchina su un bel cavalletto (o muretto e qualsiasi cosa ferma e
stabile). Se invece state fotografando a mano libera senza cavalletto e
c’è abbastanza luce per usare tempi abbastanza veloci (evitando il
mosso) mosso aumentate gli ISO che tanto il flash non vi può aiutare.<br />
<br />
Potreste leggere:<br />
<ul>
<li><a href="http://www.adolfo.trinca.name/wordpress/index.php/2009/02/02/photoshop-come-eliminare-il-rumore-da-iso-alti/" target="_blank">Fotografia-notturna-appunti</a></li>
<li><a href="http://www.adolfo.trinca.name/wordpress/index.php/2010/04/13/una-bella-spiegazione-su-come-funziona-il-flash/" target="_blank">Una bella spiegazione su come funziona il flash</a></li>
</ul>
<h3>
Il concetto di “Stop”</h3>
<a href="http://www.adolfo.trinca.name/public/2012/04/033111_0835_Atterritida1.png"><img alt="" class="alignnone size-full wp-image-8935" height="138" src="http://www.adolfo.trinca.name/public/2012/04/033111_0835_Atterritida1.png" title="033111_0835_Atterritida1" width="439" /></a><br />
Ogni volta che si è spostata la ghiera dei tempi o quella dei
diaframmi si sarà notato un invito meccanico a fermarsi in quella
posizione, una sorta di piccolo scatto: chiamiamolo <b>uno stop</b>.
Quando si passa da f/11 a f/8 si dice che si è aperto di uno stop,
mentre da f/8 a f/11 si chiude di uno stop. Lo stesso per i tempi, da
1/125 a 1/60 si allunga di uno stop e da 1/125 a 1/250 si accorcia di
uno stop, ma tra i fotografi è invalso l’ uso di dire “aprire” e
“chiudere” anche riferendosi ai tempi di scatto. In pratica, per
mantenere costante il valore di esposizione (EV), mentre si chiude di
uno stop da una parte, dall’ altra si apre di uno, o viceversa. Gli stop
raddoppiano o dimezzano il valore: 1/125 è la metà di 1/60 ed il doppio
di 1/250. Diaframma f/8 fa passare il doppio della luce di f/11 e la
metà di f/5,6.<br />
<hr />
<h2>
L’esposizione per metafora</h2>
Questo paragrafo e relative metafore sono state scopiazzate ed adattate da quanto letto <a href="http://www.fotografia-digitale.info/principi/26/capire-lesposizione-il-triangolo-dellesposizione/" target="_blank">qui</a>. Vediamo se con alcune metafore riusciamo meglio a capire il concetto di esposizione.<br />
<b>La finestra.</b><br />
Immaginate che la vostra macchina digitale sia come una finestra con
le imposte che si aprono e si chiudono. L’apertura del diaframma
corrisponde alla dimensione della finestra: più è grande la finestra e
maggiore sarà la quantità di luce che entra<br />
La velocità dell’otturatore corrisponde al tempo in cui le imposte
delle finestre rimangono aperte; più le lasciate aperte e più luce
entra.<br />
Ora immaginate di essere all’interno della stanza e di indossare
occhiali da sole. In quel momento i vostri occhi diventano meno
sensibili alla luce, e questo in pratica corrisponde alla sensibilità
ISO.<br />
Ci sono quindi vari modi per incrementare la luce all’interno della
stanza ( o la vostra percezione della stessa): potete aumentare il tempo
in cui tenete aperte le imposte della finestra, aumentare la dimensione
della finestra o togliervi gli occhiali da sole.<br />
<b>Abbronzarsi al sole</b><br />
Un altro esempio che può aiutare a capire il concetto dell’esposizione è quello di paragonarlo all’azione di prendere il sole.<br />
Non tutti i tipi di pelle sono uguali: alcuni sono più scuri e
tendono ad abbronzarsi più facilmente, mentre altri, più chiari, tendono
a bruciarsi con poche ore di sole. Ecco, diciamo che la pelle può
essere paragonata alla sensibilità iso impostata sulla una macchinetta,
la sensibilità con cui questa reagisce alla luce solare.<br />
La velocita dell’otturatore in questo esempio, è come il tempo che
passate ad abbronzarvi sotto al sole. Più tempo passate sotto ai raggi
solari, e maggiore è la possibilità di abbronzarsi (col rischio però di
rialzarsi bruciati, o meglio “sovraesposti”)<br />
L’apertura è come la crema protettiva che applicate alla vostra
pelle. Le creme protettive bloccano i raggi solari a diversi gradi di
schermatura, che possono essere ricondotti alla dimensione dell’apertura
del diaframma: protezione totale significa apertura minima mentre
protezione zero significa apertura totale.<br />
Per capire come i tre elementi si combinano fra di loro ci basta
immaginare che una persona di pelle sensibile dovrà applicare una
protezione totale, allungando perciò il tempo di esposizione al sole; se
invece utilizziamo una protezione molto bassa avremo bisogno di un
minor tempo di esposizione al sole.<br />
<h2>
Conclusioni</h2>
Per toccare con mano quello di cui stiamo parlando potreste fare un
po di prove con il simulatore di DSLR (macchina fotografica digitale)
messo a disposizione da <a href="http://www.camerasim.com/" target="_blank">CameraSim</a>, che ringrazio, presente qui sotto.<br />
<br />
<br />
<br />
Para ver a publicação original <a href="http://www.adolfo.trinca.name/wordpress/index.php/2012/04/18/capire-lesposizione/" target="_blank">clique aqui.</a> <br />
<br />
No final da pagina existe um simulador de fotografia bem interessante!<br />
<br />
Abraços.<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com1tag:blogger.com,1999:blog-4388288953579518464.post-55643856966981238712012-06-05T00:38:00.000-03:002012-06-05T00:39:47.634-03:00Concepts de HUD do Homen de FerroMais do que simplesmente desenhar qualquer coisa que pareça tecnológica na tela, quem cria as interfaces computacionais em filmes tenta representar uma época ou prever tendências de futuro. Com o passar dos anos, o trabalho se tornou mais complicado.<br />
<br />
<a href="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/iron1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="354" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/iron1.jpg" width="630" /></a><br />
O acesso a tecnologia de todo tipo e tamanho foi democratizado, e torná-la verossímil nas telas de cinema requer muito mais que mero exercício de futurologia. É preciso parecer incrível, mas sempre perto do possível.
É exatamente isso o que fez o designer de motion graphics Jayse Hansen para a Marvel, nos filmes do “Homem de Ferro” e “Os Vingadores”. Ele foi o responsável por criar os elementos e animações do visor do Mark VII, construído por Tony Stark.
Hansen explorou anéis que se dividem em diversos pedaços de informação – sempre numa paleta de preto e cinza, com vermelhos, laranjas e azuis – tudo como se fosse controlado pelos olhos.
Junto com o estúdio Cantina Creative, Jayse Hansen desenhou também as telas de vidro touch da Helicarrier de “os Vingadores”, depois de estudos painéis e instrumentos de caças A-10. O trabalho chega ao detalhe de possuir diferentes “modos” de tela, alterando os elementos caso a nave esteja parada, em batalha ou avariada.
Além do velho e bom rascunho no papel, o trabalho do designer segue o fluxo de Illustrator, After Effects e Cinema 4D. Além das várias imagens nesse post, você pode ver outras em tamanho ampliado no portfolio de Hansen.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="489" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman2.jpg" width="640" /></a></div>
<br />
Hansen explorou anéis que se dividem em diversos pedaços de
informação – sempre numa paleta de preto e cinza, com vermelhos,
laranjas e azuis – tudo como se fosse controlado pelos olhos.<br />
Junto com o estúdio <strong>Cantina Creative</strong>, Jayse Hansen
desenhou também as telas de vidro touch da Helicarrier de “os
Vingadores”, depois de estudos painéis e instrumentos de caças A-10. O
trabalho chega ao detalhe de possuir diferentes “modos” de tela,
alterando os elementos caso a nave esteja parada, em batalha ou
avariada.<br />
<span id="more-30104"></span><br />
Além do velho e bom rascunho no papel, o trabalho do designer segue o fluxo de <strong>Illustrator</strong>, <strong>After Effects</strong> e <strong>Cinema 4D</strong>. Além das várias imagens nesse post, você pode ver outras em tamanho ampliado no <a href="http://cargocollective.com/jayse/Avengers">portfolio de Hansen</a>.<br />
<br />
<div style="text-align: center;">
<img alt="" class="aligncenter size-full wp-image-30106" height="317" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman3.jpg" title="Iron Man" width="630" />
<img alt="" class="aligncenter size-full wp-image-30107" height="337" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman4.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30108" height="493" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman5.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30109" height="363" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman6.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30110" height="405" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman7.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30111" height="324" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman8.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30112" height="400" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman9.jpg" title="Iron Man" width="600" />
<img alt="" class="aligncenter size-full wp-image-30113" height="400" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman10.jpg" title="Avengers" width="600" />
<img alt="" class="aligncenter size-full wp-image-30114" height="422" src="http://www.brainstorm9.com.br/wp-content/uploads/2012/05/ironman11.jpg" title="Avengers" width="600" /></div>
<br />
<br />
<br />
Fonte: <a href="http://www.brainstorm9.com.br/30104/entretenimento/a-interface-computacional-de-homem-de-ferro-e-os-vingadores/" target="_blank">Brainstorm9</a><br />
Abraços.<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-8926387634649882032012-04-24T21:55:00.002-03:002012-04-24T21:55:15.204-03:00GreenPeace - Por uma Boa Causa<br />
<br />
<div style="color: #6aa84f; text-align: center;">
<span style="font-size: x-large;"><b>GREENPEACE </b></span></div>
<div style="color: #274e13; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.ligadasflorestas.com.br/users/126951" target="_blank"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipIQDqZ9YcNm82jU9FU12X5lBXtpY-YCs435OG342pyR7SUoBKGKcuCxEf8_yn3UZ6ZEYjgSazT9OCrzNvQk4t8qOz1AW5xuLRAG3-M9HVbjZ1bUfSXmZd8glxSMRMi0kGH7zrx3vPRUx-/s640/BANER+GREENPEACE.jpg" width="640" /></a></div>
<div style="color: #274e13; text-align: center;">
<br /></div>
<div style="color: #274e13; text-align: center;">
<br /></div>
<span style="color: #6c6c6c; font-family: Helvetica,Arial,sans-serif; font-size: 13px; text-align: left;">Para
levar ao Congresso uma lei de iniciativa popular contra a devastação
das florestas, nos mesmos moldes do Ficha Limpa, precisamos de 1,4
milhão de assinaturas. A sua colaboração é fundamental.</span><br />
<span style="color: #6c6c6c; font-family: Helvetica,Arial,sans-serif; font-size: 13px; text-align: left;">Está esperando o quê para assinar a petição pela lei do Desmatamento Zero no Brasil?</span><br />
<br />
<br />
<span style="color: #6c6c6c; font-family: Helvetica,Arial,sans-serif; font-size: 13px; text-align: left;">Um abraço! </span><br />
<div style="color: #274e13; text-align: center;">
<br /></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<iframe frameborder="0" src="http://ligadasflorestas.org.br/api/form?referer_id=126951" style="height: 432px; overflow: hidden; width: 380px;"></iframe></div>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-7737133610132394442012-04-09T21:15:00.000-03:002012-04-09T21:15:48.276-03:00Mais um pouco por dentro de Matrix<h1 id="watch-headline-title" style="font-family: Georgia,"Times New Roman",serif; padding-bottom: 8px;"><span style="font-size: large;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)">Breakdown Matrix Reloaded - Spiraling Virtual Shot</span></span></h1><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/vkpjPVvHDQI?feature=player_embedded' frameborder='0'></iframe></div><h1 id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)"> </span></h1><div id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)">Apesar de Matrix já ter sido feito há algum tempo, ainda sim está atual em qualidade visual. </span><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)">Mais técnicas de CG TOP em Matrix. Vejam a perfeição dos movimentos dos rostos e mapeamento.</span></div><div id="watch-headline-title" style="padding-bottom: 8px;"><br />
</div><div id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)">Vejam o Post anterior também que mostra etapas de desenvolvimento daquele grande soco na cara do Agente Smith!</span></div><div id="watch-headline-title" style="padding-bottom: 8px;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PDjonticIj4?feature=player_embedded' frameborder='0'></iframe></div><div id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)"> </span></div><div id="watch-headline-title" style="padding-bottom: 8px;"><br />
</div><div id="watch-headline-title" style="padding-bottom: 8px;"><br />
</div><div id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)">Abraços.</span></div><h1 id="watch-headline-title" style="padding-bottom: 8px;"><span class="long-title" dir="ltr" id="eow-title" style="vertical-align: top;" title="VFX Breakdown Matrix Reloaded - Spiraling Virtual Shot (Anatomy of a Shot)"> </span></h1>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-42362779164468449162012-04-09T20:46:00.000-03:002012-04-09T20:46:18.643-03:00Um Super Soco em Matrix!<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PDjonticIj4?feature=player_embedded' frameborder='0'></iframe></div>Vale a pena ver um pouco das etapas da produção desse super soco em Matrix.<br />
Confiram!Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-81033652993274978772012-04-01T19:23:00.000-03:002012-04-01T19:23:22.794-03:00Concurso Ecológico da Current Motor<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigODjw6TKngfBmPzfIzvlXGu-KeiXUYWaMq_BWpMx3V5TX_QBNY5IwTBW3F3SuOy0hYOf0EKfpHF0aStEMNoXPK23WfVaBMyDSMqtZ4Od7sqvH4UXW9faC4ybCof392nqCrl9oMkSnbEhk/s1600/hero960-508x319.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigODjw6TKngfBmPzfIzvlXGu-KeiXUYWaMq_BWpMx3V5TX_QBNY5IwTBW3F3SuOy0hYOf0EKfpHF0aStEMNoXPK23WfVaBMyDSMqtZ4Od7sqvH4UXW9faC4ybCof392nqCrl9oMkSnbEhk/s1600/hero960-508x319.png" /></a></div><br />
<br />
A Current Motor procura o design que vai estampar o novo modelo 100% elétrico lançado pela empresa, a Super Scooter, em uma edição especial que será realizada para celebrar o dia da terra, comemorada em 20 de abril – data da divulgação do resultado. O vencedor irá ganhar uma moto e um capacete personalizado com o próprio design, um laptop Dell XPS 13, os direitos autorais pelo trabalho que será vendido no site e-commerce da empresa e, ainda, ser visto nos canais de mídias sociais da Current Motor e da Dell.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://ci.talenthouse.com/ci_435/ac07f9/Current_Motors_Image_692x461.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="http://ci.talenthouse.com/ci_435/ac07f9/Current_Motors_Image_692x461.jpg" width="640" /></a></div><br />
<br />
Maiores informações: <a href="http://www.talenthouse.com/design-para-current-motor-dell?tab=1" target="_blank">Clique Aqui!</a>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com1tag:blogger.com,1999:blog-4388288953579518464.post-82140447109247000452012-03-19T22:55:00.001-03:002012-03-19T22:59:38.659-03:00It’s a Mad Mad Mad Mad World<div class="separator" style="clear: both; text-align: center;"><a href="https://vimeo.com/21978481" target="_blank"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPK7y2d9bCPj0cpaUqPJeg1RWcEVTQjeWPYZEWggAFrqaCQGwFlVes0kV1ULu38OSknT08BfSoM1rzmE68Gnyjpxi3c6EMHyLjQESM_qlMxM0Mlp4eSzw83-QIJfjWvaZiOg6NXfLkbMZp/s640/madmadwolrd.jpg" width="640" /></a></div><a href="http://www.blogger.com/goog_668022956"><br />
</a><br />
<br />
"You know, Abe Lincoln, when asked how long a man’s leg should be, said: 'Long enough to reach the ground.' Well, these titles needed longer legs than most." —Saul Bass on It’s a Mad Mad Mad Mad World from Bass on Titles."<br />
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<span class="" id="result_box" lang="pt"><span title="Bass' titles for It's a Mad Mad Mad Mad World come in at just over four minutes – his longest sequence, second only to West Side Story in 1961."><a href="https://vimeo.com/21978481" target="_blank">It's a Mad Mad Mad Mad World</a>, vêm em pouco mais de quatro minutos - sua mais longa sequência, perdendo apenas para West Side Story em 1961. </span><span title="He directed it in 1963, the same year that he designed the iconic poster for Hitchcock's The Birds.">Dirigiu, em 1963, mesmo ano em que ele desenhou o cartaz icônico para o Hitchcock Aves.<br />
</span><span title="Mad World is a frenetic, exhausting film, and Bass reflects this in his sequence, featuring a crudely-drawn globe subjected to an endless barrage of visual puns and sight gags, courtesy of its inhabitants.">Mad World é um filme, frenético desgastante, e Bass reflete isso em sua seqüência, com um globo grosseiramente puxado submetido a uma barragem interminável de trocadilhos visuais e piadas visuais, cortesia de seus habitantes. </span><span title="Propelled by Ernest Gold's carnival-themed score and boiled down to a thick palette of black, white, and saturated hues, Bass employs a simplistic, childlike illustration style, contrasted sharply by the heavy lines and formal typesetting of the title cards themselves.">Impulsionado pelo escore de Ernest Gold carnaval com tema e se resumia a uma paleta de tons grosso preto, branco, e saturada, Bass emprega um simplista estilo de ilustração infantil.</span></span><br />
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<span class="" id="result_box" lang="pt"><span title="The animation techniques used by Bass in Mad World were heavily influenced by a new movement in the cartoon industry that favored a modern, stylized aesthetic over the then-dominant school of Disney hyper-realism.">As técnicas de animação utilizadas por Bass em Mad World foram fortemente influenciados por um novo movimento na indústria de desenhos animados que favoreceu uma estética moderna e estilizada sobre a então dominante escolda de </span></span><span class="" id="result_box" lang="pt"><span title="The animation techniques used by Bass in Mad World were heavily influenced by a new movement in the cartoon industry that favored a modern, stylized aesthetic over the then-dominant school of Disney hyper-realism.">hiper-realismo</span></span><span class="" id="result_box" lang="pt"><span title="The animation techniques used by Bass in Mad World were heavily influenced by a new movement in the cartoon industry that favored a modern, stylized aesthetic over the then-dominant school of Disney hyper-realism."> da Disney. </span><span title="He also took advantage of a new animation technique called 'holding,' which involved splitting characters and environments up into several layers and selectively recycling them during photography.">Ele também se aproveitou de uma nova técnica de animação chamada 'Holding', que envolveu personagens e ambientes dividindo-se em várias camadas e, seletivamente, reciclá-los durante a fotografia. </span><span title="Originally used as a money and time saver at big commercial studios, it was exploited by the new school for its inherent quirkiness, with the fast turnaround as an added bonus."></span></span><span class="" id="result_box" lang="pt"><span title="Propelled by Ernest Gold's carnival-themed score and boiled down to a thick palette of black, white, and saturated hues, Bass employs a simplistic, childlike illustration style, contrasted sharply by the heavy lines and formal typesetting of the title cards themselves."><br />
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<div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMyObyk58dbh7gwEGA9VBEJ8SzLjKn4iIFwjiI900L62RTCMhZBnEpu9wRVwkzLC43uE46vZ34VGPO08H7nqBtY4Li6OCXPsTQ-Ug31FteE8Asim_bwTNkjFyUaGMCLTgv0dMh9nqoOOR8/s640/mad2.jpg" width="640" /> </div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a href="https://vimeo.com/21978481" target="_blank">IT'S A MAD MAD MAD MAD WORLD</a></div><br />
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Matéria completa em www.artofthetitle.comAnonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-5574283580377647382012-01-07T16:35:00.000-02:002012-01-07T16:35:45.010-02:00Real Steel (Gigantes de Aço) - Dreamworks<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEHGCl18ZnaqwvxhFOHINCDXxFHFwv8eYqeDlh2dn20w8343Z9wU5TYYbDt_tuhGnu9HzEmr8DROjkEFv5t2CJv64v4-aS2CRFwTGrLPde6DWzEO5rfRFdjyPk9INH_e_hKnlqJV1QBDB/s1600/2011-Real-Steel_1680x1050.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYEHGCl18ZnaqwvxhFOHINCDXxFHFwv8eYqeDlh2dn20w8343Z9wU5TYYbDt_tuhGnu9HzEmr8DROjkEFv5t2CJv64v4-aS2CRFwTGrLPde6DWzEO5rfRFdjyPk9INH_e_hKnlqJV1QBDB/s640/2011-Real-Steel_1680x1050.jpg" width="640" /></a></div><br />
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Havia tempos que eu não assistia um filme misto de animação e realidade realmente bom! Digo, Iron Man e Transformers foram excelentes para o gênero, mas o apelo desses filmes estão nos efeitos visuais, animações, super-herois e lindas mulheres, é claro! Entretanto, esse tal de <a href="http://www.imdb.com/title/tt0433035/" target="_blank">REAL STEEL</a> me pareceu transpassar essa ideia, por isso merece respeito pela trama. Ainda assim, não posso deixar de comentar sobre a bela participação da Evangeline Lilly. =D<br />
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<a href="http://www.imdb.com/title/tt0433035/" target="_blank">Real Steel</a> ou <a href="http://www.imdb.com/title/tt0433035/" target="_blank">Gigantes de Aço</a> (no Brasil) apareceu sem muito alarde e mostra ser um filme de excelente qualidade para quem gosta de ficção, animação, um pouco de drama e uma boa história. Confesso que depois de ver o cartaz e ainda nos primeiros minutos de filme, achei que era mais um filme de robôs que os americanos adoram fazer, porém me surpreendi com a trama. <br />
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Desta vez não irei colocar o trailer. RECOMENDO PULAREM OS SPOILERS e irem direto ao filme!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Yg0h2M40JvExNc4elYtTP7ELBDTiTxXXkUHBDr8Kqk5EiEm-79eC-Xtr3cbYQHLM0O9mhsWVRLPmTBOWkcoqFyd5iFms4Y1bVPO4J6QxTtrZQ8siMTAGPsvhq7hmCV_83aT89QFgAq-5/s1600/real_steel_ver4_xlg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Yg0h2M40JvExNc4elYtTP7ELBDTiTxXXkUHBDr8Kqk5EiEm-79eC-Xtr3cbYQHLM0O9mhsWVRLPmTBOWkcoqFyd5iFms4Y1bVPO4J6QxTtrZQ8siMTAGPsvhq7hmCV_83aT89QFgAq-5/s640/real_steel_ver4_xlg.jpg" width="448" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzaywFV0Xn-EfZxFSaNHCse9cmBgzJMnm2Q9q7OQyiJwh2zZH9gu7Z_rzPtPJeLQ8XDoBFrcj9ZA1EslqhZe2cTQNYICcK6H8Fj2FVcu92o72MOcsqf7BY8NK0HOp19RDtKWzbhgVIxE56/s1600/real_steel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzaywFV0Xn-EfZxFSaNHCse9cmBgzJMnm2Q9q7OQyiJwh2zZH9gu7Z_rzPtPJeLQ8XDoBFrcj9ZA1EslqhZe2cTQNYICcK6H8Fj2FVcu92o72MOcsqf7BY8NK0HOp19RDtKWzbhgVIxE56/s640/real_steel.jpg" width="640" /></a> </div><br />
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Abraços!Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-19660787405412423432011-12-11T10:48:00.000-02:002011-12-11T10:48:14.422-02:00Gnomon Master Classes 2011<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmcElNe4b8pVLRkXkqDi17tqehddtDdxKSas6fPBlsnOPwvWnaDBlus90mUUlN8k-k0Ev-PM9fGunphkmFqumv9KUyI2diQqjKawt3Uh6XzpTHpdypn5ZGFl43dk50hMnSoR7sdn9lPrX/s1600/banner2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmcElNe4b8pVLRkXkqDi17tqehddtDdxKSas6fPBlsnOPwvWnaDBlus90mUUlN8k-k0Ev-PM9fGunphkmFqumv9KUyI2diQqjKawt3Uh6XzpTHpdypn5ZGFl43dk50hMnSoR7sdn9lPrX/s640/banner2.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJn87KAdhsMTI_4pax79VoLRNGotT5HGwdaZojvlb7-gl3F_-MOQSB_uxwVK48Yc_K6GgraCHUj0geIz_NiH4hFjWl4yx67ROZ-7z1n_p6ZDu8YMcqoDcRQ4J1sQSw8IEM_fIgSZwvhwgf/s1600/gnomnbanner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
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<div style="text-align: justify;">Para quem está procurando fazer um bom curso de CG sem gastar rios de dinheiro com cursos caros ou até mesmo esperdiçar tempo e dinheiro em cursos "meia-boca". Aqui vai a dica: no site da Gnomon existem cursos online de otima qualidade! Existem descontos para estudante e estudio de até 20%. Se você for estudante, um invstimento de $236 (que não é assim tão caro) te dá direito a vários tutoriais em HD de ótima qualidade e o melhor, os instrutores são os próprios artistas dos grandes estudios de cinema! </div><br />
<a href="http://www.gnomonschool.com/master/2011/" target="_blank">Confira Aqui! </a>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-2617544321715660052011-11-20T11:52:00.000-02:002011-11-20T11:52:52.026-02:00Design Automotivo com Marco de LimaHá algum tempo, tive oportunidade de conhecer o trabalho de um <a href="http://lima3d.blogspot.com/"><span style="color: #073763;">Designer de Visualização do Centro Estilo FIAT do Brasil</span></a>. O nome da fera é <a href="http://lima3d.blogspot.com/">Marco de Lima Batista</a>. Durante minha estadia na Fiat e desde então pude acompanhar o trabalho deste rapaz e suas belas imagens.<br />
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A "foto" abaixo trata-se de um <a href="http://lima3d.blogspot.com/2011/04/gallardowhiteparking.html">Gallardo</a> que ele modelou inteiro no Alias durante alguns meses e ficou impecavel!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpn9wHYNpBRY3mhEZew6aC5u0O5WJyIAdE3mp-mlo6JpLNN6MAhPhNuLHPPg7POd10G_uElIsUwpvl7whtdHTuGCeb6GnYwP8sFb8AwqbkA_70EdQ4WwmNqczuetJ-p02DbGwJMA5zvH4/s1600/3d_model_render_gallardo_white_parking_03_1600x900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpn9wHYNpBRY3mhEZew6aC5u0O5WJyIAdE3mp-mlo6JpLNN6MAhPhNuLHPPg7POd10G_uElIsUwpvl7whtdHTuGCeb6GnYwP8sFb8AwqbkA_70EdQ4WwmNqczuetJ-p02DbGwJMA5zvH4/s400/3d_model_render_gallardo_white_parking_03_1600x900.jpg" width="400" /></a></div> <br />
Para quem se interessar, o blog <b>http://lima3d.blogspot.com</b>/ tem muito mais conteúdo para ser visto e maiores informações sobre o trabalho deste designer.<br />
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Abraços!Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-38942156740065493172011-11-20T11:35:00.000-02:002011-11-20T11:35:53.411-02:00Making of “Poker Master” (Maya e Zbrush) - Nível Avançado<div class="separator" style="clear: both; text-align: center;"><a href="http://static.dtuts.com/3d/tuts/zbrush/poker-master/18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://static.dtuts.com/3d/tuts/zbrush/poker-master/18.jpg" width="512" /> </a></div><div class="separator" style="clear: both; text-align: left;">O Site http://3d.dtuts.com/3d-tutorials/making-of-poker-master/ publicou um making of de uma cena criada com Maya e Zbrush onde o autor posta boas dicas de modelagem e mapeamento de texturas.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Vale a pena conferir!</div>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-65775210228761579842011-10-22T13:06:00.002-02:002011-10-22T13:16:37.933-02:00Programa AnimaCultura dá 135 mil para Produção de Animações!<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.lumlab.com.br/fotos/00/01/ccs_ft1_1.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://www.lumlab.com.br/fotos/00/01/ccs_ft1_1.gif" width="320" /></a></div><span style="font-size: small;"><br />
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<span style="font-size: small;">O Programa ANIMACULTURA tem por objetivo estimular o crescimento e a dinamização da indústria brasileira de conteúdos culturais, através do incentivo ao desenvolvimento e à produção de projetos transmídia, com foco em séries de animação.</span><br />
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<span style="font-size: small;"> O ANIMACULTURA contempla todo o processo de criação, desenvolvimento, produção, teledifusão e comercialização da série e conteúdos transmídia, e por isso foi dividido em três etapas.</span> <br />
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<span style="font-size: small;"> Na primeira etapa, serão selecionados projetos que receberão R$ 135.000,00 para desenvolvimento da co-produção, desenvolvimento do projeto completo transmídia e produção do episódio piloto da série. Ao final desta etapa, os projetos participam de nova seleção para a segunda etapa.</span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><br />
<span style="font-size: small;">Mais informações, <a href="http://www.lumlab.com.br/">clique aqui!</a></span></div><div style="text-align: justify;"><span style="font-size: small;">ou </span></div><div style="text-align: justify;"><span style="font-size: small;">Vá direto ao regulamento, <a href="http://www.lumlab.com.br/concursos-1.html">Aqui!</a> </span></div>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0tag:blogger.com,1999:blog-4388288953579518464.post-9000791002972970232011-09-28T18:37:00.000-03:002011-09-28T18:37:21.349-03:00DPS 2000 na Design Excellence Brazil (DEBrazil)<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">O Design Excellence Brazil ou DEBrazil, tem o objetivo de promover o design brasileiro no exterior através da participação em prêmios reconhecidos internacionalmente, como o iF Product Design Awards. <br />
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Para edição 2012, venho divulgar o <b>DPS 2000</b>, o qual tive orgulho de participar junto a excelentes profissionais. O Produto foi concebido para possibilitar a deficientes visuais o acesso aos serviços de transporte público de forma autônoma e segura. <br />
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Mais informações a respeito do <b>DPS 2000</b>, <a href="http://www.geraestec.com.br/produto/dps2000.php">clique aqui!</a></span><br />
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</span></div><div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Agradescimentos à: Laura Cota, Marcelo Pinto, Priscila Carneiro, Márcio Miguel e Leonardo Oliveira e Jorge Armando. </span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br />
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Abraços!</span>Anonymoushttp://www.blogger.com/profile/11978299568042902546noreply@blogger.com0