Rebekah King-Britton

Here's an attempt at a rig with DragonMatrix, a script for Moho that lets you manage poses from multiple morph targets with a free bone that drives the morphs. It's a bit like blendShapes in Maya. Very practical because the neutral position is in the centre. I've reworked the code a bit to be able to improve the extreme poses, because by default Dragon Matrix didn't allow you to get the extreme poses as they were drawn, and as it's an average of the morphs between them, it was difficult to get the poses you wanted from the start. I'll share a demonstration with you as soon as I can. Moho Animation Software - Lost Marble LLC #mohoanimation #Webinar

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This picture is from a course I completed, taught by the talented @Corina Clarin a VFX supervisor, who has worked on some of the largest projects with Oscar nominations and BAFTA wins. The course provided me with comprehensive skills to manage complex VFX projects from conception to completion, and this visual representation highlights the critical steps in the VFX pipeline. In the world of film production, a well-structured VFX pipeline is not just a necessity, it’s a game changer. The efficiency and creativity that come from having a clear, streamlined process can’t be overstated. A robust VFX pipeline ensures that every team member, from artists to producers, is aligned with the project’s vision. It enables seamless collaboration, minimizes errors, and optimizes the use of time and resources. Most importantly, it allows for consistent quality across all shots, ensuring that the final product not only meets but exceeds expectations. Having a strong VFX pipeline is key to unlocking the full potential of visual storytelling. It’s what transforms complex ideas into visually stunning realities, making every frame count. #VFXPIPELINE #TechnicalProficiency #VP #Nuke #VFXWorkflows #GCC #UAE

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It takes two flints to make a fire! Computer graphics has, for years now, put the sophistication of software tools in the hands of artists to create outcomes that has enhanced animated storytelling capability to incredible levels. Generating ideas and options are at a huge advantage as GenAI provides rapid iterations in taking the development process to marvelous heights. Inevitably, the human-machine collaboration is being taken to a new level with artificial intelligence. The technology stack for image making will evolve in a way where collaboration will take place with machines and software rather than using them only as tools. Our teams at #MikrosAnimation working at the pinnacle of features and TV animation, constantly demonstrate how great outcomes happen to those who don't stop believing, trying, learning, and being grateful…..#Autodesk has consistently given us solutions and tools to enhance performance and productivity…… #birenghosesalutes #technicolorgroup #technicolorindia #autodeskmediaandentertainment

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🎬 Game-Changer for UK VFX: What It Means for Us in Production Could this be the boost our industry needs? The UK The Labour Party government’s latest budget brings a 5% increase in tax relief for VFX, up to 29.25%. Starting January 1, 2025, productions will have even more incentive to keep work in the UK. This is forecasted to bring £175 million in extra spending annually and create 2,800 new jobs a major win for our creative community! As a Line Producer navigating the evolving worlds of TV and social content, I’m especially intrigued by the decision to include generative AI in the tax relief. Embracing AI isn’t just about future proofing; it’s about staying competitive in a rapidly tech driven industry. The budget also directs £25 million to Sunderland City Council’s Crown Works Studios, supporting regional talent and boosting job creation. Add in the revamped Growth and Skills Levy for apprenticeships, and there’s a lot to get excited about. Yet, we must acknowledge challenges, like reduced business rate relief for cinemas and rising employer costs. 💬 What’s your take? Are these measures enough to keep the UK ahead in global content production? Or do challenges still outweigh opportunities? Reference: Screen International Mona Tabbara https://lnkd.in/e5AVfh88 #UKBudget2024 #VFX #LineProducerLife #AIinFilm #CreativeIndustries #Production #FilmProduction #UKFilms

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Check out Kurt's latest episode of the VFX Script Podcast!

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In Conversation With… Andrew M Smith, OBE DL, Corporate Affairs Director, Pinewood Group Limited Interviewed by Liz Bales (BASE & DEGI) Production in UK is 2nd largest outside US. Film industry has a VFX tax credit and help for smaller films (£1-£15M). Film and high end TV help levelling up with a huge range of roles, that don’t necessarily require university degrees. DCMS reviewing skills needed. BFI Skills clusters being set up. Need to educate for those coming into sector as well as retraining. Freelance community has been impacted. Brexit has impacted. A little more complicated. Difficult for orchestras. But larger budget productions can navigate. Smaller budget use co production treaties. British independent film to be helped by BFI scheme. More independent films would need fiscal initiatives to get onto screen. It is one sector. The same plasterer works on large or independent. Without film tax relief we’d lose 92% of U.K. productions. One of 5 top economic sectors in UK. UK has good AV tax reliefs. But Hungary and Australia are competitors. London is attractive with 4 big studios. Growth will also be in nations and regions. Levelling up on film and high end TV production spend. Next thing is #AI. VFX and previz already using AI. Stages still needed but expand cautiously. Screen Skills retraining of construction for production sites. Retaining finance for production accountants. Training for set-ready. Disney, Amazon and Netflix focusing. Reaching out to students to show what’s possible. Also 200 storm troopers come along!

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Does anyone know anyone of consequence at Channel 5? Just look at this title card. Do you remember flying in a plane that has an engine at the back and only on the left wing in the 1970s? Were physics different then? Because that’s a leaning tower of sausage if ever I saw one. Illustrators are out of work across various media industries. There must have been a budget for a title card. But no, they had to use the latest AI fad instead of putting some of the budget on the title card and give a poor soul some reprieve. The ultimate in laziness. You know with the millions who may be put out of work by AI (and the hundreds of thousands who are currently out of work in games, tv and illustration) you have to wonder where the budget from advertising is going to come from - if nobody can afford to buy anything. Because they’re not working. Because of laziness like this. Do some actual creative work. Budget for an illustrator. Honestly seeing stuff like this makes me unbelievably sad and angry. Be better. #generativeai #channel5 #paramount

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When I worked on my Innsmouth project (https://lnkd.in/eDTkQDCe) to introduce Providence VFX, many people asked me "why are you adding this crazy amount of details in Clarisse (that we can see in the VFX breakdown) whereas your final render is a 20s drone shot in the night ? It doesn't makes sense" For sure, while looking at the final render, nobody would be able to notice grass, streets props, or my harbour reef, full of dead horseshoe crabs, fishes and lobsters... This video was a kind of "technical reel" to justify the creation of my studio focused on CG Environments. Four years later, Lunacy Games gives me the opportunity to scavenge this Clarisse projet, and I'm finally able to explain why, natively, I wanted to add this crazy amount of details. I do have a life-size environment to play with, ready to render. So, I "just" need to create cameras, render EXRs out, and focus on a massive paintover work in Photoshop ! Marsh Refinery

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Here's a snippet from a Project Breakdown from WIZZFX MASTERCLASS. This one is of the Bay Jingles we did a while back. 👉🏼 Learn more at wizzfx.com/masterclass

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Do you have a film idea that you can't wait to bring to life? Making a film requires passion and dedication. Learn from Andrew Chesworth as he screens his latest hand-drawn / CG hybrid short film 'The Brave Locomotive' followed by a making-of presentation and Q&A. The film is a love letter to the musical films of the 1940s Golden Age of animation in both look and form. Full Video: https://lnkd.in/evdXNZtT

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My color correction reel. For those who don't know, the colorist makes the movies look pretty to fit the mood better in the finishing process. It's a pretty technical job that I love because I make everything look great in a much shorter amount of time than it takes to edit. I love to do this work. In this reel you'll see some stuff I've directed, shot, some I didn't, many edited, many I didn't, but I colored all of it over quite a wide variety of genres (non-fiction, commercial, stop motion mixed with live action, etc.) #color #colorCorrection #movies #film

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I thought I would experiment with a quick comparison here for a typical establishing shot, creating a full 3D environment vs creating it with AI, then somewhere in between. This is by no means a conclusive study but more an observation of the process at this current point in time. Both approaches were done fairly quick so LOTS could be improved, and I know there are many other ways to approach this, but you get the idea! 🫠 In terms of how digitally ethical this all is with regards to the data used, I’m not certain, so for this case it’s not for production use just personal development and study. With regards to time actually spent, obviously the AI approach in this case was incredibly fast, half an hour let’s say vs the week of time here and there in 3D. In my opinion, shots like these where it’s just establishing a scene I can really see a use case for this in the future. Of course it’s a bit more nuanced than just that statement with many things to consider but defiantly hard to ignore at the moment. Another useful tool.

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During the current industry struggles, and downtime between opportunities, I've been trying to further develop and improve my understanding of the production stages outside compositing. I've spent a good amount of time learning Houdini over the years and as amazing as it is, due to my learning being purely personal development I use the Non-commercial version and it understandably has it's limits, foremost of which for me is the export res. I've also recently had my algorithms swarmed by Blender content and after looking into it's camera tracking abilities a couple of months ago I've also been meaning to look more deeply into learning it so I figured now is as good a time as any! Obviously my first port of call had to be to take the rite of passage that is completing the Blender Guru donut tutorial. While I appreciate posting tutorial stuff is never going to be the most interesting thing it does mark something new in my journey so figured it would be good to share. I didn't end up with the exact same final output as the tutorial, I tried some things that were a little more off-piste so maybe that makes up for it..? While Blender definitely has it's quirks it's far deeper than I realised before and the prospect of getting to delve further into it is exciting! #learning #development #3D #Blender #b3d #Nuke #compositing #art #OpenToWork

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Check out this week's Friday Filmmaking Blog! We cover the possible decline of AI in filmmaking, celebrate the 25th anniversary of Kubrick’s "Eyes Wide Shut," and highlight five unique directors shaping cinema. Stay updated with the latest film insights! #Filmmaking #AI #Kubrick #Directors #FilmIndustry #Cinema #FilmBlog

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Exploring open frame and end frame animation. Kling does a better job than Luma Dream Machine. But it does a terrible job extending the animation. This is five seconds image to video in Kling. The original images are created in Midjourney

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Can you guess what could have caused this gruesome cut? 🤔 In film making, special effects illusion is key to creating believable and captivating scenes. It's not just about gore or shock value - it's about transporting the audience to a new world and making them feel like they're part of the action. With SFX illusion, filmmakers can: - Create realistic injuries and trauma without harming actors - Bring fantastical creatures and characters to life - Recreate historical events or fictional worlds with accuracy and detail - Push the boundaries of storytelling and imagination So, what do you think happened to this poor hand? #SFXmakeup #filmaking #special effects #storytelling

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🚀 Level Up Your 3D Pipeline with USD! 🎥💻 Ready to supercharge your 3D scenes, animations, and VFX workflow? 🌟 Check out my latest blog post on USD (Universal Scene Description), the game-changing framework from Pixar that’s reshaping the industry. 📖 Here’s what I dive into: USD's key concepts: Layering, Variants, Inheritance, and more How it transforms collaboration in animation & VFX Practical examples and code to help you get started Whether you're a TD, artist, or dev, mastering USD is key to working smarter on big projects. 🔗 https://lnkd.in/g6Ak4uJe Share your USD experiences or thoughts below! ⬇️ #3D #VFX #USD #Pipeline #Animation #Pixar #CGI

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“Use Houdini!” - they said. “Houdini is fast!” - they said. Simple task: Convert thousands of OBJ meshes from quads to triangles as fast as possible. Houdini FX (6,995$): Using TOPs network, utilizing all 18/36 cores/threads Intel i9 7980XE, from/to nVME. 1560x (4Mb OBJ) files: 17 minutes 14sec. Blender BPY (GPL3): Using multithreaded code running 18x BPY instances on the same files on the same PC: 42.28 seconds. That’s even not funny. 17 minutes with fully loaded CPU vs 42 sec. 😲 Update: Sorry, I was wrong! 14 minutes, not 17! https://lnkd.in/gR3vbHvX #b3d #houdini

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