The Gnomon Workshop has released nCloth for Production, a complete guide to using Maya’s nCloth toolset to simulate clothing, recorded by Method Studios lead creature FX TD Rohit Jain.
World War I epic 1917 conveys the carnage of combat with uncommon grit. Informed by writer-director Sam Mendes‘ heartfelt story and his gifted design team, the film, nominated for 10 Academy Awards including best picture, immerses viewers in a “No Man’s Land” littered with dead animals, rotting corpses and dying soldiers. Prosthetics designer Tristan Versluis, Oscar-nominated with makeup designer Naomi Domme, did most of the heavy lifting when it came to blood, guts, and gore.
In this video, Neil Parfitt who is a composer, music editor, synth sound designer based in Toronto has set up his new rack mount Mac Pro 7,1 computer to show some real-world tests both about the fan noise and how well it handles a very large Pro Tools project and turns up some surprises during his tests.
Over recent decades many of the tools used in video production and post have become smaller, easier to use, and less expensive. It is possible to edit and finish projects on a single iMac or iMac Pro that would have taken an entire edit facility in the past. This trajectory has also applied to media storage – the lifeblood of post-production. Both spinning and solid state hard drives are cheaper and offer larger capacity than ever before. Less costly systems and storage make it easier for small and medium production and post companies to ramp up the number of edit/graphics/audio seats within the facility.
The Stateside ASIFA Annie Awards have announced their 2020 winners. Among those awarded were Henry Selick (director of The Nightmare Before Christmas, James and the Giant Peach and Coraline), Ron Clements and John Musker (who have worked as one of Walt Disney Animation Studio’s leading director teams over the past three decades) and, posthumously, Satoshi Kon (acclaimed manga artist and director of such films as Perfect Blue and Paprika), all whom were selected by the ASIFA-Hollywood Board of Directors tp receive Winsor McCay Awards for exemplary industry careers.
As NLEs have become more user-friendly over the years, green screen technology has become more accessible to everyday content creators. You don’t need a studio or a big editing rig to get it done. For most programs, it only takes a few clicks to get the desired effect. In this walkthrough, we’re going to show you how to chroma-key a green screen in Final Cut Pro X.
There’s an exceptional level of craftsmanship among this year’s nominees for the Cinema Audio Society Awards, which recognizes outstanding accomplishments in sound mixing, a collaborative discipline that requires sound editors, re-recording mixers, Foley and ADR artistry to work together to create a harmonious finished product.
Gordon sits down to discuss the VFX of The Lion King with VFX supervisor Rob Legato
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