It has been a while since my last official DJ set. I had pleasure to be a guest in the Polish radio station “Radio Kampus” 97.1 FM once again. You can listen to my live prerecorded DJ set [HERE] following by DJ sets of famous Polish DJs – Ant (host) and Harland!
Few days before end of splash screen contest for Houdini 13, I have decided to give it a try and create my own contest entry. Unfortunately with huge amount of work and few days left till deadline I did not managed to deliver expected image quality. Despite of already finished contest, I decided to finish the project.
A specular highlight is a bright spot of light that appears on shiny objects when illuminated. The term specular means that light is perfectly reflected in a mirror-like way from the light source to the viewer. We are going to cover two specular reflection models.
Phong reflection model.
So far, we have been sending single ray from centre of each pixel. You can notice that we have very chunky edges. You might think that increasing number of pixels should eliminate that problem but it won’t. We can make pixels smaller but jaggies on edges will persist. Additionally, if scene object is too small or too far away, it might be placed in-between rays and we will never register its existence. This problem is called spatial aliasing. There are few ways of fixing it but we will focus on one popular technique. Continue Reading →
Now this is where fun starts. Following a photon in our backward raytracing next step would be to test where it came from. We already know last hit position before photon hit our Image Plane, we can check if there is direct path from hit point to light source simply by shooting another ray. When a our new ray is able to reach a light source without any interruption, we call it illumination ray, otherwise, when there is any obstruct on our ray path we call it shadow ray.
Rising Sun Pictures posted simulation breakdown demoreel that includes Wolverine shots I have worked on
Art of VFX posted an interesting interview with Tim Crosbie, VFX Supervisor in Rising Sun Pictures.
It also includes some insides about shots I have been working on, covered by Lead FX Prema Paetsch.
Check it out [HERE]
Long time ago, I came up with this crazy idea of creating a ray tracer in Houdini just by using Houdini VOP nodes just for fun. I found that this may give you a very in-depth understanding on how raytracers works, and let you discover few tips and tricks in Houdini.So after a few requests, I have decided to create this tutorial. Starting from the very basic so everyone can understand. The final ray tracer we are going to create, renders picture on a given “Screen”, custom geometry for eg. simple plane object. Exactly same principles apply for shaders so everything what we will create here, you can do in shader contexts. But first, we are going to start from simple examples and basic math. Continue Reading →
Dan Lemmon, Supervisor at Weta Digital talks about the new version of Krypton for Man of Steel in Art of VFX.
Interview includes great before & after pictures
You can read it [HERE]
CGSociety posted an interview with Tim Crosbie (RSP VFX Supervisor) and Prema Paetsch (RSP FX Lead) regarding shots I have been working on (Nuclear shock wave simulations).
[...] The shock wave’s effect itself was created using fast fluid sims and some particle sims as well, running along the geometry based on that LiDAR. This was all based on the pyroclastic work that the team had done in the previous shots across the bay.[...]
you can read it [HERE]
FXGuide posted detailed review on VFX done for Wolverine movie featuring my shots with nuclear blast.
“It was a combination of deconstructing the location that was there, so that we could then re-build it back up again. So all the huts, guard towers. The whole location was LIDAR’d so we could reconstruct the area. And then we destroyed them, we blew them up using a combination of smaller explosions to make a larger one.” RSP relied on the Bullet solver inside Houdini 12 to create the explosion effects.
you can read it [HERE]
Rising Sun Pictures posted details about their work on Wolverine movie including shots I have been working on.
“[...] For the atomic bomb attack, which occurs in an early flashback sequence, RSP artists worked from archival footage to produce a CG model of Nagasaki and the towering mushroom cloud produced by the bomb. They also created radioactive shockwaves, pyroclastic waves and debris elements for shots showing the destruction of the prisoner of war camp where Wolverine is being held. [...]“
Check out full article [HERE]
Hey people! Siggraph is coming soon, let me know if you want to say hi and grab a drink or two!
Also do not forget about NextLimits 15th year anniversary!
See you at the Siggraph 2013!
“In order to re-imagine the Superman universe for Man of Steel, director Zack Snyder looked for new ways to help tell the superhero story, including innovative visual effects for the technology used by the inhabitants of Krypton, Superman’s home planet. These included “liquid geo” displays, which could visualize anything from people to ships to planets and even X-rays. The displays were brought to life by the visual effects artists at Weta Digital in Wellington, New Zealand, and rendered using fluid simulation technology.”
View full video and read more [HERE]
FX Guide posted an article about Man of Steel featuring details about our work on ‘Liquid Geo’ Kryptons technology.
Weta Digital senior visual effects supervisor says the liquid geo look “stemmed from an idea that Zack Snyder had. He wanted to do something that was interesting and different in the way that you saw information presented. He didn’t want to do the typical screen. So one of the ideas Zack had was to make it a little bit more tactile – we looked at different things – the idea of that pinboard that you put your hand in and you see the shapes sort of form was what we had in our minds, but the more we looked at that the more we realized you can’t do just something like that it’s too simple and limiting – the shapes really need to transform – you need something that has that look but be more liquid.”
Continue Reading →
and here comes trailer of my work during last 12 months at Weta Digital studios in New Zealand
28 November 2012 – Few shots I took at Peter Jacksons Hobbit premiere in front of Embassy cinema. Whole city paralysed for one day