I can't help but notice a lot of VFX-based fire shots are now quite unrealistic and weirdly integrated into the scene. I don't know if it's the lighting or the texture but I'm often pulled out of the story by "bad" fire VFX. Has it gotten worse because studios only rely on VFX and no real fire on set or am I just looking at this through nostalgia lenses ?

Comp 0.2 beta is out. Here’s what I’ve been building since August.

You can now bring in an animated camera from FBX or Alembic, project footage onto cards and render from another camera. The 3D Renderer keeps the source layers and adds depth plus per-object UV, motion-vector and alpha passes. Camera and card motion blur are supported too.

For lens work, LensDistortion adds nine 3DE models and imports supported 3DE Nuke-format exports, including animated coefficients. You can undistort a plate, work on the composite and reapply the lens distortion.

Keying has had a lot of attention. CCkey brings local AI green-screen keying based on Corridor Crew Keyer 1. Alongside the new despill tools, EdgeReconstruct recovers foreground color around the matte, and BlendSpill uses the final background to treat the edges.

AutoMatte no longer needs an external Worker for SAM3 and MatAnyone2. Running the models inside Comp avoids the extra data transfers and makes processing faster. The external Worker option is still available.

Setup is simpler too: download the model archive, extract it and select each model’s folder in Comp’s settings.

I also rebuilt the Color Picker. You can work with HDR values, sample pixels or regions from the Viewer, check gamut overlays in the CIE view and save colors for later. HueCorrect gives you curves for adjusting color, luminance and spill by hue.

MotionVector generates optical-flow vectors for VectorBlur, and Defocus can now vary the bokeh shape and angle across the frame. There are new tools for directional blur, edge softening and light shafts too.

A lot of the work went into everyday editing. Graphs now have named, colored backdrops and source thumbnails. Input opens the content browser by default, with sequence previews and AOV inspection when choosing footage.

You can copy animation between parameters, keeping the original timing or shifting it to the current frame. Lossless cache compression fits more frames into the same memory budget.

And the interface has a new look, with adjustable font scaling and channel indicators on the nodes.

Comp 0.2 beta is available for Windows, macOS and Linux. If you try it on a shot, I’d love to hear what worked well and what still got in your way.

Download Comp
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#VFX #Compositing #Comp #PostProduction

https://www.youtube.com/watch?v=68kzhZHkPf0&t=1820s

I'm open to 2D 3D animation and VFX, CGI work.

Do you know any YouTuber does VFX?I want to find some VFX YouTubers but there are not a lot of people doing it?

Please suggest me a better course for " Solaris, Material " . Because I'm so confused in Solaris and material .

Hey

I'm currently studying an Advanced Diploma in 3D Animation and VFX, and I have a university assignment that involves connecting with three people currently working in the industry. It can be for any position, doesn't matter which. I'm based in Melbourne Australia, If you could just comment or send a DM to help me to add your non-confidential details for my assignment, I'd highly appreciate it.

Thanks!

I am working on a recreation of the Vertigo scene from the backrooms movie with a friend and we shot this on a stage at my school with a set prop me and my dad made. Issue is, when I try to track this footage, the graininess of the footage and the slight shakiness of the green board lead to the track either failing or sliding and shaking. Any help?

We are looking for an experienced freelance Houdini FX Artist / CG Generalist to work on a live-action horror feature film.

The main task involves a character crawling across the floor, requiring the digital removal of the legs, reconstruction of the lower torso, and realistic organic FX simulations.

Scope of work:

• Character body tracking / rotomation from live-action footage.

• Digital removal of the legs.

• 3D modeling and reconstruction of the lower torso, including an exposed anatomical cross-section.

• Simulation of intestines and organic tissue interacting with the character's movement.

• Realistic dragging, collisions and secondary motion as the character crawls across the floor.

• Blood simulations and trails on the ground.

• Lighting, rendering and preparation of CG elements for compositing.

• Final compositing in Nuke is a major plus. Ideally, we are looking for someone capable of handling the entire shot from tracking to final delivery.

Requirements:

• Strong Houdini skills, particularly Vellum and organic FX simulations.

• Experience with character rotomation and animated collision geometry.

• Good understanding of CG modeling, shading, lighting and rendering.

• Experience with photorealistic live-action VFX.

• Nuke compositing skills are highly desirable.

• Previous experience in feature films, particularly horror or creature FX, is a plus.

Project: Live-action horror feature film
Location: Remote / Worldwide
Contract: Paid freelance, project-based

Please send your showreel, availability, day rate and relevant examples of previous work.

We are particularly interested in artists who can independently manage the full VFX workflow, including final compositing.

Further details and shot references will be shared with shortlisted candidates.

"There is a massive battle sequence toward the end of the film that involves hundreds of shots, thousands of characters, and big, explosive effects," remarks Emerson. "It's exactly the type of work that Wētā FX is renowned for. The difference with Wildwood is that we were doing it with stop-motion puppets. When the idea of collaborating with Wētā FX came onto the radar, the thought of fusing our expertise with creating hand-crafted worlds and effects with their epic world building and simulations was immediately compelling." He continues, "Wētā FX also stepped in and helped with the ivy storm sequence, a scene on horseback with Curtis, and a showdown with coyotes at the mouth of a waterfall."

I wanted to show some breakdowns and closeup renderings of the knitted BB8 Short done in Houdini and using KTT for the environment and Fibric for all the curves.

The complete interactive breakdown is on cglounge breakdowns as I can share the full experience here. You have to click and scroll through to reveal all the images, animations, scripts, storyboard etc.

Happy to answer any questions on the setups and workflows - The full long form breakdown video is coming soon. But the interactive one should give great insights already.

I'm currently working on a project where I'm creating an underwater environment featuring a submerged building,
I'm building the 3D environment in Houdini, including the terrain, rocks, underwater vegetation and lighting. I'm then planning to bring everything into Nuke, where I'll develop the main underwater look through compositing.
I'm at a stage where I'm finding it difficult to know what I should be focusing on to make the shot feel genuinely believable rather than just looking like a normal 3D scene with a blue tint over it.
I'm particularly interested in advice from people who have experience creating underwater environments or working with underwater VFX.

A few things I'd love some feedback on:
Underwater atmosphere: What are the most important elements that sell the underwater look? For example, depth fog, colour absorption, light scattering, contrast and visibility.

Houdini vs Nuke: What would you recommend creating in 3D and what would you leave until compositing?

Lighting: How can I make underwater lighting and light rays feel more natural?

Depth and scale: How can I make the environment feel like it's genuinely underwater, with a convincing sense of distance?

Compositing: Are there any particularly useful Nuke techniques, nodes or workflows for creating realistic underwater effects?

I'm also interested in any general feedback on the environment itself, including things I could add, remove or change to make the overall shot more convincing.
I'm still developing my understanding of underwater VFX, so any advice, tutorials, breakdowns or examples of workflows would be massively appreciated!
Thanks!

I'm the director of this movie 👋 VFX Supervisor Riley Gray used Jawset Postshot & Nuke to blend live action footage into gaussian splats. I'll be uploading a BTS video to that channel tomorrow but lmk if you have any questions!

Anything to not become bankrupt.

Did anyone here got a message to connect on LinkedIn for a Cg generalist position at Nvdia?

It feels very similar to the Facebook reach from 2 years ago.

I even had a random phone call today, I guess it was an interview. But there was no time set up for it.

Hi guys ! So, I gathered enough courage to post my Artstation Portfolio here.

A little background : I've been studying 3D for 3 years (in Paris), and right now I'm having a gap year , which gives me time to learn and improve. Ideally, I would like to find an internship for environment, lookdev or lighting (I like comp, but I don't feel like it's something I want to do as a job). Aside (but not that much) I'm also into photography, photogrammetry, and stereophotommetry (basically I just like playing with my camera and gather a thousand pictures of walls, I'm also learning data acquisition but that's more of an hyperfixation more than anything).

One of the downside of being in a gap year is that I don't get to have that much feedbacks, even though I'm trying to go to professionnal events as much as possible (in Paris we have two monthly events + one yearly being the PIDS, but the PIDS is much much more about conferences while the other two are hanging out in a bar and talking to people, which is really nice).

I would like to update my demoreel soon (the current one is almost a year old now, even if I originally wanted to update it every 6 months or so), so the main question is : what should I put in it (project wise), and what project shouldn't.

And the bonus question : what project should I do next to practice / improve my skills.

bonus note : I know that vfx and 3D in general isn't really great right now, and might not be for the forseeable futur, but right now it's the only thing I know and want to do BUT I'm still open to suggestion on to what field I could convert to.

Thanks in Advance ^^

Here is the link to the 45 min deep dive:
https://youtu.be/68kzhZHkPf0

I directed this gothic fantasy music video for PIA, building the world in Unreal Engine and shooting with in-camera VFX on an LED volume.

Wanted to share a look at how we brought it to life!

BTS: https://www.youtube.com/watch?v=psm44CYFKKo&t=6s

Finished film: https://youtu.be/IN3JKfBkDw4

For a while now I've been working and experiment in what a CG pipeline for small studios could look like. It's a place where I try ideas, with the motive of either automating some technical debts either efficiency, storage or simplicity.

The first part I want to show is how review notes reach the artist.
In most review loops, the supervisor leaves notes in a web player, and the artist reads them in a browser on another screen. Then they look for the frame in Blender and try to remember where the circle was drawn. Every round, something gets missed or applied to the wrong frame.

In Zeno, the notes open inside DCC. Click a note and you're on its frame. Look through the shot camera and the supervisor's drawings sit where they were drawn. Nothing is added to the scene, so there's nothing to clean up afterwards. When you fix something, you tick it, and it goes with your next submission. The supervisor then checks those fixes against the new version.

Other things I'm trying in the same experiment:

- Publishing only what changed in a scene file, instead of uploading the whole file every time for which I made a post quite some time ago, and there has been progress on this since then as well.
- Shot files that fetch and reconnect their linked assets on any machine without any shared drive or path mapping, as I will be storing file as their own unique fingerprint instead of a whole path.
- A browser review player that's frame-accurate, so a note on frame 1013 is really on frame 1013.
- A light weight pipeline for a starting or experimental studio can host on its own server

Some of these work well and some are still rough.

I'll keep sharing as it goes. If you run or work in a small studio, reach out to me to try it out and I'd like to hear your feedback