This Quadruped Walk Cycle Tutorial is very basic, but shows how to get to a strong base for a walk cycle very fast using mainly mathematics, It shows my workflow to start a walk cycle in an fast and strong way, it’s what i learned and developed in the industry over the years. Sorry the video is missing the 2nd part were i develop the walk using mathematics, but the video was buggy. I hope it will help you to give you a good base for a quadrupeds walk cycle or help you to improve your methodology.
In this Maya 2016 rigging tutorial video I will show you how to create a simple bird rig including joints, IK handles and nurbs control curves to allow you to animate your model.
In this tutorial, Mike Hermes will explain the use of the Ocean shader node that will allow you to create water surfaces for swimming pools, ponds etc.
Rodeo FX produced 240 stunning visual effects shots for Angelina Jolie’s biopic Unbroken, including the breathtaking air combat between the B24s and the Zero fighter planes, as well as the landing scene of the damaged B24 Superman plane at the Funafuti airstrip. Take an in-depth look at how our artists crafted invisible VFX to make the World War II biopic seem real. Rodeo FX produced 240 stunning visual effects shots for Angelina Jolie’s World War II biopic Unbroken. Partnering again with Industrial Light & Magic, the Montreal-based VFX studio crafted photorealistic images, creating the breathtaking air combat between the B24s and the Zero fighter planes, among other spectacular sequences.
“Rodeo was a great partner in not only creating the visuals but understanding the sensibility we were looking for,” said Bill George, visual effects supervisor on Unbroken. “For me, it’s the difference between just doing the work and bringing true artistry to it.”
Based on the bestselling biography by Laura Hillenbrand, Unbroken tells the story of war hero, Louis Zamperini (Jack O’Connell), whose B24 bomber crashed into the Pacific. Zamperini was captured and spent over two years in horrific conditions in Japanese POW camps. Given the star power involved – from director Jolie, to writers Joel and Ethan Coen, DP Roger Deakins, and to Zamperini himself, who was still alive during production – this is a high-profile project that required meticulous attention to detail from the 100 artists who worked on the film at Rodeo FX. The director was intent on a visual styling that was authentic to the time period with invisible VFX that did not distract the viewer from the powerful human drama.
“Our biggest challenge was to make our work imperceptible so the viewers would be carried away by the action and the emotions,’” said Sébastien Moreau, VFX executive producer at Rodeo FX. “This is Louie’s story and everything we did had to be a slave to the story. We wanted to be historically accurate in the details and give the whole film a hyper-real look.”
Making – and damaging – the B24 Super Man asset, all in CG
Every shot was designed so the viewers could put themselves into the story and nowhere was this more evident than in the 154-shot sequence that depicts the bombing of the Japanese-held island of Nauru. Zamperini’s Super Man, part of a fleet of B24s, is attacked by Japanese Zero fighter planes. Almost every element in the sequence – the Super Man bomber, the fleet of B24s, the Zero planes, the airstrip, most of the sky, and the bullets and tracer fire – was created as CG imagery.
Rodeo FX built digital models of the B24 using blueprints and historical photos as references. “The airplane asset was a challenge because we only had a limited number of historical photos,” explained Matthew Rouleau, VFX supervisor at Rodeo FX. “We had to invent various details, building the asset from panelling to rivets, and then shooting from every angle and every distance.”
“The unique approach to the B24 effects in Unbroken was to experience the action almost completely from Louie’s point of view,” explained George. “The camera was often positioned so our view was blocked, giving us only glimpses of the intense fighting that is happening outside the plane. We also had the desire to stay as true to realistic exposure levels in and out of the plane.”
One of the challenges Rodeo FX faced was making these fully CG sequences look photoreal, including lighting. “We had a lot of good concept work to match to, as well as war footage,” said Rouleau,. “All our modeling, textures, and compositing had to come together perfectly to make the whole look real.”
The cockpit interiors were filmed using a partial model set on a gimbal, surrounded by a whitescreen to provide more natural light. Rodeo FX created the effect of reflections in the glass, as well as compositing scratches, dirt, and textures.
After its fight with the Zero planes, the damaged Super Man lands at the Funafuti airstrip. The island, airstrip, soldiers running around, buildings, and foliage were all made of digital elements created by Rodeo FX. This environment started as a plate that Rodeo FX extended with matte painting, flak explosions, bullet tracers, bullet hits, and textures. The team shot practical elements – including dust, debris and rocks – with a RED Epic at the studio in Montreal, and blended them with their FX renders for a more photoreal look.
Because the Funafuti runway is too short for a B24, the landing sequence involves a tire digging into the ground and shredding, which makes the plane turn on its side and kick up sand and dirt before crashing into a pile of rocks. This sequence required a great deal of fine-tuning together with the client, as well as practical shoots in the Montreal studio and hours of animation and simulation. The tire blowout used a reference shot of a rapidly rotating tire hitting the ground.
“This is real in-your-face stuff,” said Rouleau. “We did a few scale tests with a smaller wheel [the B24 wheels were five-feet tall], running it into the ground and filming it with a GoPro. To get the tire to rip apart in a believable way, we hand-animated all the bits of flying rubber.”
Continuing Collaboration with ILM
Rodeo FX has a long history of working with ILM, having created visual effects together on such films as Pacific Rim, Terminator, Indiana Jones, Mission Impossible, and Red Tails. ILM’s Bill George was also VFX supervisor on The Planet of the Apes (2001) and won an Oscar for the VFX in Innerspace (1987).
“Pulling this challenging project off with with Bill and ILM was fun,” said Rouleau. “He knows what he wants and, because of his vast experience, when we showed him work in progress, he understood where we were going with a shot and could provide guidance efficiently. We are really proud of the work we did on Unbroken – this collaboration with ILM is one of our favourites so far.”
miopiafx – “10 days of storm”, for Qatar National day. Meet the team behind this big project. It was intense and many hours of work but we are very proud with the results. Qatar Storm Client: Qatar National Day Director: David Alcalde Production Company: – Agency: Al Rayaan Qatar
War Thunder brings NVIDIA GameWorks WaveWorks to Dagor Engine 4.0 in the latest update. NVIDIA WaveWorks technology generates incredibly realistic waves and foam effects for oceans, seas, rivers and lakes which will also factor in wind strength and direction. This technology provides water surfaces the ability to interact with other game objects and players.
Roar was Shot in the dense mangrove forest showcasing the animal-man conflict and the film has aerial visuals of the Sundarbans and over 800 shots with special effects. Director Kamal Sadanah said “We spent four months doing the test shoots and we shot with trained tigers from Los Angeles and Thailand and composited these sequences with the ones taken at Sundarbans with VFX”. He concluded saying that he had to take up an online course in visual effects along with his producer Abis Rizv
Visual Effects by
Anibrain … visual effects
Mehta Apul … rigging supervisor
Vishal S. Bendre … visual effects: Rigging artist
Sagar Dabir … machmove artist
Vivek Dey … On set & VFX Cordinator
Yashwant Dutta … lighting artist
Michael Hatton … vfx supervisor: Los Angles
Anuva Natarajan Iyer … digital compositor
Mahapatro Kalpana … assistant art director: vfx
Bikash Kumar Mahanta … visual effects artist
Rajendra Maharana … sr. compositor
Bharat Pillai … VFX Editor
Saurabh Raut … visual effects artist: Anibrain
Swain Shiv … visual effects artist
Dhirendra Singh … compositor
Jude Subash … lighting lead
Kamal Kumar Tiwari … lead compositor
Vibhaw Tiwari … rotoscope artist
War Thunder brings NVIDIA GameWorks WaveWorks to Dagor Engine 4.0 in the latest update. NVIDIA WaveWorks technology generates incredibly realistic waves and foam effects for oceans, seas, rivers and lakes which will also factor in wind strength and direction. This technology provides water surfaces the ability to interact with other game objects and players.
Making of Icebound by Xoio. Based on a visual did with there partners FLC Helsinki, Xoio created this series of animated shots. “Icebound” is a study depicting the korean icebreaker “Araon” on various stages of a journey through northern greenland. Additionally we added a making-of section to illustrate our work for our clients and friends.
Main focus of our team was put onto creating a highly atmospheric lightscape, that should reflect the magical experience of being in polar areas. Additionally we strived to bring across the sensation of vast scale of an arctic landscape.
We used this project to further enhance our competence in various fields of CGI-work, like physical simulation, Smoke- and Fumesimulations and realfootage montages in 3d-postproduction. www.xoio.de
MR. X is thrilled to be returning to work on the fourth season of History Channel’s hit series Vikings. Last season saw Ragnar Lothbrok’s assault on Paris, and this season promises more betrayals, more adventures, and all your favourite vikings for a sword-clashing good time.
