This will be a carbon dioxide grenade to suck up oxygen around the fire, like fire extinguisher. I'm still not very good at making Niagara effects, but for testing and as a draft, I think it's okay? The main thing is to create mechanic that will affect the fire
Holy crap Cinesync 5 is a resource pig. Tried to do a call with a vendor using it, and it took 80Gigs of RAM and most of my CPU. Couldn't get Zoom to work right with it, and had just finished a session with version 4 that worked perfectly as expected.
#AI#GenerativeAI#Automation#Animation#VFX#Hollywood: ""In the good old days," mused DreamWorks co-founder and former Disney CEO Jeffrey Katzenberg late last year, "it took 500 artists five years to make a world-class animated movie. I don't think it will take 10% of that three years out from now."
With Hollywood already replacing staff with generative artificial intelligence (AI) tools, people working the industry want rules to govern the new technology and to make sure it does not use images they have created without compensating them.
The U.S. film, television and animation industry employs some 550,000 people and the sector's extensive use of technology makes staff particularly vulnerable to changes wrought by AI.
FINISHED! Yesterday I made my first #Houdini vellum fluid sim. I'm using velocity as a color attribute, and lots of smoothing trickeries for the final mesh. Enjoy!
It's basically what Disney used to have actors in front of animated backgrounds in Mary Poppins (1964). The process allows you to composite half-transparent things that traditional chroma keying like greenscreen and bluescreen struggle with, e.g. glass, water, veils, hair and motion blur, with minimal to no visible artifacts.
A couple of days ago I showed the implementation of a scanner based on Niagara and static mesh, I decided to make another variant that requires less resources and can be configured - to transfer random positions from a Spline
Step by step I study and experiment with Unreal Engine 5 and Niagara. I worked with Unity for 6 years, but I did not use the Particle System very skillfully. And I can't remember if I could so quickly reproduce there what I can in Unreal. For example, controlling particles by spline
I played a little with Niagara and Ribbon, made a draft of a visual scanner. Some objects will have entry zone for scanner launch, the particles get a link to the static mesh for random end points
Look, I did a vfx! What's really cool is that one texture aside, I didn't even have to leave the Godot editor. Peep the breakdown below!
Meshes are all built-in, noise is configured via the built-in FastNoiseLite, gradients are also built-in, and animations are done entirely in the editor.
If you're trying out the new Blender 4.1 release and you do green/blue screen work, I highly recommend the new Keying Screen node in the compositor. The feature has been around for a while, but it's vastly improved in 4.1. I just finished a project that used it in the beta release and can vouch for it 100%— I used beta specifically for that feature! #blender3d#blender#vfx
Fear is the mind killer in the latest episode of the #VFX Show. Mike Seymour, Jason Diamond, & Matt Wallin discuss the absoultely stellar visual effects in the highly anticipated Denis Villeneuve film, Dune: Part 2. Listen for free @fxguide.
I wouldn't call it fun for anyone at the time, but seeing a scene and learning it was a disaster of a shoot entirely bailed out by #VFX and I had no idea is always an amazing thing.
Watching #Monarch again after seeing a talk on it, I appreciate it even more.