Top Tweets for #dMFX
Secondary performance enhancement — post-animatronic #dMFX we called them.
The actors performance was enhanced by micro-tracking movements in the mask and targeting them to other facial performance, then finishing the phonemes with gradient distortions and digital cable-pulls — as well as eyes, breathing, and blinking.
Work by MastersFX team. 2013-2014
Later we also turned on that communicator… not quite dMFX there .. and I designed his costume as well.
They found a way to get to the moon
Alec Gillis starts the discussion on The overlap of Digital and Practical: #VES
#dMFX
“We live in a world where we should choose the right tools to talk the story and support the directors vision.”
“Gone are the days you feel like you are in competition for other techniques .. “
Smile2
The 3D print of the sculpted design (assuming zBrush) was not enough, so finished the surface with clay sculpting.
The director could build creative intent with the practical puppets, and get workable shots as well as reference for later digital teams.
VFX teams are not generally involved at the beginning of the production — the visual is the only creative direction, and often are left making stuff up. Is that really the creative intent?
“I kind of take that relationship for granted, I guess. We work with the director a lot, when he has nothing else to comment on.”
-Alec
“When I was working on Pacific rim @RealGDT talked about waste reduction. There is so much waste in production, ideas are thrown away at an alarming rate, and the post teams are left with little time or budget trying to finish everything.”
“Having some Ty ing photographed for reference, at times may be fully replaced, but there are moments and elements that are irreplaceable in the original image.”
“In the early days of digital effects, it felt like there were a lot of corporate decisions on what technique to use… digital artists work their asses off, and are up against release dates.”
-Alec
“Practical effects at some point actually force a decision, but in post production they get to keep making it up. No one goes on to set with bad intentions.”
Rebel Moon
FracturedFX makeupFX and Framestore built the digital puppet to seam the spider body on to the actress. At times they forgot the actors pointed dentures, and those were replaced digitally.
Performance by the actor sells the shot, and there is a need to get the technical stuff out of the way.
Jimmy the robot — Scanline had direction not to replace the practical suit. “You have to support the practical with those digital pieces.”
SINNERS:
Practical effects reference shot against static blue screens for stabbing wounds.
When the vampire gets hit with the silver guitar, much of it was a magnetically attached 3D printed prop stuck in a prosthetic wound. Digital cleanup, additional motion, and set extension.
A fully practical effect was designed, and executed but not seen directly on film — this was scanned for digital application. “We should not be making stuff up.”
The bubbling second degree burns were built as a practical reference, assembled digital duplicates from the 3D scans. Digital effects were used to bring the practical design to the film reality.
So many wonderful avFX miniatures and digital effects in this scene — my favorite is the digital makeup #dMFX method to scale up the performers mouth dramatically.
The Mouth of Sauron - Extended Scene - What were your thoughts on this moment in the film?
The return to the practical costume with augmented #dMFX is striking compared to the CG.
Hybrid methods bring immediate authenticity.
Give your CG team more time. At least as much as you gave practical team.
Some of the first and arguably best digital makeup to explode on the big screen. #dMFX
As one of the early proponents of digital prosthetics, I love what @DaveBlass and team are doing with this project.
It need not be limited to #dAge methods, but full characters can benefit from the intentional combination of prosthetics and digital glue. #dMFX
The strange story of William Shatner's Star Trek 'comeback' https://t.co/9ZvJFHNR43
Brilliant! So they do have a character mirror.
The use of prosthetics and digital in harmony reflects a lot of the work we did at @MONSTERMASTERS for Falling skies.
I love to see that it has caught on and evolved to this impressive level!
Boldly go!! #dMFX
BTS shot from my iPhone of @SamWitwer and I in early R&D tests for #unification - this is all 100% live/real time digital on top of the physical prosthetics…
Augmented Reality view of photogrammetry for Falling Skies — this was scanned in Vancouver in 2014, and viewed a week later in Los Angeles. The head sculpt is much larger in real life.
#FallingSkies
#dMFX
@ToddMasters
BLADE II (2002, Guillermo del Toro)
"The Last Voyage of Demeter" Dracula makyajı
Not sure if they thought about the inner-face interface before my tests, but it is still cool. #dMFX
https://t.co/hSG0ZVVn45
#AlmostHuman
https://t.co/w0KyGbGg3o
The advances in virtual production for this archive, including volume capture and NeRF rendering - mixing digiDoubles and virtual #dMFX for characters in real time is groundbreaking! The #VFXarchaeology aspect for the Star Trek series is also included.
O toy talks and shows more of the Gene Rodenberry Archives.
https://t.co/oefgvAzoeQ
I remember doing designs for the “inner-face” on this. We did a few tests only in the #dMFX department.
This show was much more like first season of FRINGE where the stories moved around technology unrestricted.
#AlmostHuman - Great show! - Turns 10 yrs this year
https://t.co/w0KyGbFIdQ
When this tech was new in 2014. We were really pushing a photogrammetry pipeline with the makeup artists, who were already getting into zBrush for design work.
This geometry was the result of a scan training session.
#dMFX #FallingSkies
One year ago we explored the VFX of horror at SIGGRAPH. Covers a lot of our work in #dMFX at MastersFX - including @actordougjones as Cochise.
The other talks included are also great!
The VFX of Horror: Achieving Eerie Aesthetics in Film, TV and Games https://t.co/i0fCmWU4w7
Bajando a comer en horario mexicano a #pertutti con el legendario Cabildo de Buenos Aires de fondo en unas horas la #conferencia #virtual con #dmfx méxico y @ameleks desde #buenosaires argentina!!
And it was perfect!
One of the early and best examples of digital makeup #dMFX
@tvaziri https://t.co/rDSCqZ6bHc Many moons ago (1997) I worked on 3 shots for the Stephen Sommers movie "Deep Rising" over at Blur Studio. No 3d tracking software. I was responsible for all of the head tracking and jaw animation frame by frame. 2 decades later the shots still hold up.
A 2014 callback… #dMFX
Fringe to Falling Skies — The Unwanted Rise of Digital Makeup – AGRAPHA Productions https://t.co/dl5cb4FkPG
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