Click here to view the video on YouTube.

Meanwhile, this is the only thing I have found on the internet
ORIGINAL LINK: HERE

Click here to view the video on YouTube.

“Harry Potter and the Deathly Hallows – Part 2,” is the final adventure in the Harry Potter film series. The much-anticipated motion picture event is the second of two full-length parts.

In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort.

Check this out!

UPDATE: Unfortunately video is not available at this moment :/ I’ll update as soon as video will be online again.

And Polish interview [HERE]

Official Site: http://www.melancholiathemovie.com/

Platige Image team:

VFX Supervisor: Jakub Knapik
Visual Effects Producer: Jarosław Sawko, Piotr Sikora
VFX producer: Katarzyna Jarzyna
VFX producer Assistant: Urszula Piekarska, Alicja Kseń

Compositors: Robert Bielecki, Tadeusz Chmiel, Kacper Fertacz, Jakub Knapik, Marek Madej, Piotr Pawełczyk, Juliusz Zenkner
Matte Painting: Jakub Grygier, Marek Madej

R&D, simulations: Piotr Suchodolski, Łukasz Sobisz, Albert Szostkiewicz, Adam Wierzchowski

Modelling: Maciej Jurgielewicz
Offline support:Adam Kałuski
Data management: Piotr Dutkiewicz

from PlatigeImage site:
Platige Image participated in the special effects production for ?Melancholia?, the new movie by Lars von Trier, which will have it’s premier at the International Film Festival in Cannes.

Directed by Lars von Trier, ?Melancholia? has qualified to the main contest at the International Film Festival in Cannes. Platige Image created the special effects for most of the scenes the audiences will see in the poetic preface of the film

This is the second time after ?Antichrist? that Platige Image has had the opportunity to participate in the special effects production for the Danish director. The film’s effects were also produced in studios in Germany and Sweden. Thirty percent of the special effects were created in Poland. A team of 19 graphic artists worked on this project for over 3 months. Most of the work revolved around 3D animation, simulations and picture composition.

Known for his diligence, Lars von Trier had a clear and precise vision of the special effects. His first suggestions were passed on to us summer of last year. Shortly after there was a meeting on the set. Our work began right after the editing was completed in January this year. There were frequent visits from Danish post-producers in our studio. The Platige Image team cooperated directly with Karen Maarbjerg, post-production director and Peter Hjorth, special effects supervisor. The work was completed end of March.

The special effects in ?Melancholia?, as with all Lars von Trier films, are completely adapted to the directors vision. He decided about the smallest detail of each picture and passed on his remarks through Karen and Peter. Together we found solution ? and waited for more comments. It’s extremely laborious work but with a lot of satisfaction in the end ? recalls Katarzyna Jarzyna (post-production director, Platige Image.)
?Melancholia? is a movie in which the special effects play an atypical role. Instead of a series of spectacular explosions we created the mood and style of the film. It’s a different type of work compared to creating standard movie effects. This time we composed the frame, lighting, we added subtle effects thanks to which everything we see in the frame has it’s own special place and meaning – says Jakub Knapik (VFX Supervisor, Platige Image).

“Melancholia” has been invited to the main competition of the Festival. From 11 to 22 of May, jury with Robert de Niro as the president, will chose the best picture among twenty qualified to the competition.

It is the second time, after “Antichrist” that the FVX team led by Jakub Knapik has been involved in the Dannish director’s project. Most of the shots that viewers will see in the poetic ouverture of the film has been created in Platige Image.

Official Site: http://www.melancholiathemovie.com/

Platige Image team:

VFX Supervisor: Jakub Knapik
Visual Effects Producer: Jarosław Sawko, Piotr Sikora
VFX producer: Katarzyna Jarzyna
VFX producer Assistant: Urszula Piekarska, Alicja Kseń

Compositors: Robert Bielecki, Tadeusz Chmiel, Kacper Fertacz, Jakub Knapik, Marek Madej, Piotr Pawełczyk, Juliusz Zenkner
Matte Painting: Jakub Grygier, Marek Madej

R&D, simulations: Piotr Suchodolski, Łukasz Sobisz, Albert Szostkiewicz, Adam Wierzchowski

Modelling: Maciej Jurgielewicz
Offline support:Adam Kałuski
Data management: Piotr Dutkiewicz

http://community.platige.com/news/525?lng=en

Agency: Leo Burnett London
Production company: Stink/Rokkit Ltd

Director: Tomasz Bagiński
CG Supervisor: Kukuś Grzegorz
Production manager: Olga Kotas

Animatic: Grzegorz Kukuś, Marcin Stępień, Maciej Jackiewicz, Michał Gryn
Concept art: Marcin Jakubowski, Damian Bajowski, Marek Okoń
Matte painting: Marcin Jakubowski

Modeling: Jakub Boś (Render 305), Łukasz Smaga, Tomasz Zaborek
Characters modeling: Tomasz Wróbel, Szymon Kaszuba, Łukasz Skurczyński, Sebastian Ośka
Rigging: Bartosz Opatowiecki
Textures: Wojciech Idzi, Tomasz Zaborek
Compositing: Jakub Boś (Render 305), Alan Uran, Bartek Witulski, Cezary Albiński
Rendering: Grzegorz Kukuś, Wojciech Idzi, Jakub Boś (Render 305)
Animation: Arkadiusz Firlit, Łukasz Kubiński
Symulations: Albert Szostkiewicz, Łukasz Sobisz

New video tutorial from cmiVFX by Andreu Lucio!
cmiVFX has prepared new, fantastic tutorial that gives us a closer look on vex nodes, fractals and volumetric effects in Houdini.




This video covers a detailed workflow within VEX nodes to allow the viewer to have a deep understanding on creating professional shots for such natural effects. The educational structure for this video, gears all users up to be able to follow its contents from beginning to end. This in-depth introduction to Fractals will add an essential knowledge to all Houdini artists wanting to move to the next level. The results produced by this video are truly superb, and near impossible to achieve any other way. With this revolutionary blend of artistry and technology, every user can have the ability to understand the roots and principles of constructing solid multi-fractal networks . At this same time, you will learn how to seamlessly create a digital asset to make your fractals accessible on any shot that you are working on. When you’re finished with the video, you will have the opportunity to create very complicated cloud system, in very difficult scenarios like multilayering effects with complex design and anything else you can dream up.

About The Author
Andreu Lucio is a spanish cg professional with more than 10 years experience and is 32 years old. After studying visual communication, he started working in international cartoon series in 1999, “The triplets”, “Juanito Jones” and “Tom” as a Cg Artist for a company called Cromosoma. He become the Lead Cg Artist so learned a lot about light, colors, compositing, fx and how important they are for improving the final result. During his carrier working in some of the top spanish studios he has deeply use softwares like 3d Max, Maya, Houdini, Modo, Combustion, Nuke. Stuff like dynamics, expressions, maya mel and python had been present almost always in his long r&d sessions. Never stopped learning neither working so how to fit developed techniques in the real production its been the key goal for him. For the last 3 years he is working in Torsion Animation, a small Houdini based studio that has co-founded, creating motion graphics and visual fx for commercials. The studio is really small, so it has to use his skills from modeling to compositing and Houdini´s power in order to get the job finished within the tight deadlines and the high quality demanded.

Chapters DescriptionsRelease

Introducing Fractal Networks

In this chapter we will navigate through core VEX nodes and network workflows to create basic fractal images and animations, building up a ground knowledge for mastering fractal color extraction and animation. We then set rules for interaction between external images and your fractals.

Procedural Terrains
One of the first areas that fractals were used was on creating digital terrains. In this section, we`ll look from start to finish how to build a node system that provide us the power to create interesting and unique terrains with VEX, how to control them and also how to comprehend the idea behind a multi-fractal terrain.

“For Loop ” VEX Node
One of the greatest nodes in VEX is the “for loop” node, it allows you to repeat the same sequence of code many times. however it has a very specific condition it needs to meet to work properly. Continuing with the effort to evolve the fractal system , we will delve into how to take advantage of the “for loop” to implement richness and a more natural look. Along side the “for loop”, we will introduce a method to securely change the input parameters of the network.

Multi-Fractal Workflow
Once we understand what is behind a good fractal system, its time to start bringing to life a complete multi-fractal OTL. In this section we`ll cover every information you need to achieve a great , clean and efficient system.

Introducing Volumetric Networks
Working with volumetric nodes in Houdini is a delicate thing. It can be an intensive process if you don’t handle it right. Our goal here is to present the viewer with a unique way to manage the intricate details within the volumetric process. How to properly set your scene to receive volumetric elements, how to render them, shade, understand definitions and set specific rules to achieve a believable result.

Custom Volumetric Displacement
In this chapter we will introduce the epicenter of our product. Combining all the knowledge we acquired until here to build our own custom volumetric displacements. We will use a simple system to create a pyroclastic cloud to understand the technique behind control vectors and how they can help us to properly add displacements.

Object Volumetric Setup
One of the most required option in a good volumetric system is the ability to apply it to any kind of source object. This can be extremely helpful to draw unique designs and to style clouds in any way we desire. Here we will explain extensively all the necessary steps to accomplish ultimate control on where your volumes will be applied. The only limit is your imagination!

Cloud Systems Workflow
Everything we have learned so far culminates in this outstanding Cloud System workflow. Utilizing our custom multi-fractal OTL and all the knowledge acquired through all the lessons, we will demonstrate how you can create unbelievable natural cloud effect and how to control it in any form your production demands, thus optimizing visibility and rendering to have a great viewport feedback together with great rendering results.

You can get it [HERE]

New, ETI chocolate bars commercial created by DOteam!

Our team was hired to work directly in ‘Ghost behind’ studio in Milan directed by Max Rocchetti. Our job was to create flying streams of chocolate, streams morphing into horses, horses morphing back into streams and final chocolate explosion in quite short period of one month. ‘Ghost behind’ company is Maya based studio so we had to quickly blend in into their pipeline.

For morphing effect I have tried different approaches and I have decided to use scripted/coded version of this effect as I already had experience with that approach in python version. As Emanuele (WetWorks) developed c++ version of morphing plugin with many extra functions I knew that this might be a good base for our effect. Problem started when we were told that this shot needs to last max 2 seconds. I needed quickly moving particles but I knew that this might look too linear. I also needed freedom of change for any suggestion from client or director. To achieve this effect I decided to slow down whole animation and then together with custom houdini tools developed for this commercial give control that we needed.

Horse hairs were done by Igor Zanic by advecting particles by smoke simulation.

Whole commercial:

Full Credits:
Max Rocchetti – Director
Alessandro Tibiletti – Supervisor, Producer

Dripping Octopus team:
Igor Zanic – FX Artist (Streams development)
Igor Jovanovic – FX Artist (Streams development, horse morphing back to streams)
Albert Szostkiewicz – FX Artist, FX TD (stream into horse morphing, python scripts)
Emanuele & Diego – RnD (C++ plugin development, morphing)

Ivo Horvat – Mattepainting
Gian Luigi – Animation
Luca Maccarelli- Rendering, lightning, shaders
Andrea Riva – Tracking, on-set supervising

Dripping Octopus is a group of talented FX artists and Technical Directors with a broad range in cg special effects ready to help you in complex shots in your commercial or feature movie. We have big experience in recreating 3d natural phenomena, using most advanced tools. Team can be hired as a group for very complex shots also can deliver final, rendered video for client and you can hire a single expert suited for Your needs. We are from different parts of Europe but as soon as it is needed we can work directly in-house with post studio and director. Our main weapon is Realflow, Houdini, Maya and 3D Max and we are ready to blend in into your pipeline. We can also provide supervising on set and very deep RnD for your team.

The Team:

Albert ‘tmdag’ Szostkiewicz
Quick learning 3D Animator passionate about his work with almost 9 years of commercial experience, working in biggest Polish post production houses. He has broad range of experience working directly with clients as well as onset supervising.
Read more…

Igor ‘CeeGee’ Zanic
Highly motivated, and committed work, always full of crazy ideas that can solve the current task, eager to learn new technology and share it with others.
Read more…

Igor ‘Starlighter’ Jovanovic
Igor Jovanovic has been working in major Serbian postproduction studios creating all kind of visual effects, ranging from modeling to matchmoving and particle dynamics. Meanwhile he found his biggest passion in fluid dynamics and using RealFlow for most of his work. Always looking for new chalenges and solving problems.
Read more…

Emanuele & Diego – WetWorks
Amazed by the Fluid Dynamics power of RealFlow Software and its ever growing coding possibilities The Wet Work team is the result of a shared passion between programmers and designers. Combining The flow of ideas and timing of evaluation as determinants of knowledge creation. Upon the enforcement of the RF’s programming interface technology and the addition of the C++ SDK our aim is to consistently bring ideas to life by Dynamically transitioning from scripting language to Plug-in concepts. The Pursuit of performance and devotion to the commitment blend in to deliver each and every tool accordingly as in our mind power is nothing without control.
Read more…

visit us at http://dovfx.com