Melissa Vasiliev’s Post

Texturing and lookdev for the robotic arm! Done in Substance Painter & Redshift. 😉 #cgi #3d #vfx

Outstanding Women in VFX Spotlight: Nono Mofokeng LinkedIn: https://lnkd.in/gmi8h6Zw  Demo Reel: https://lnkd.in/gmPN-5v9 Nominated by Gabrielle Bucaya This is what Gabrielle had to say about Nono: "Nono is an inspiring woman, who isn't afraid to create her own narrative gracefully and with power. Throughout her career, she's lived in various parts of the world as a Producer, excelling in project management and finance. Her passion for growing in her role and her ability to connect with others through her involvement with the VFX community shows there is no stopping her - and we should look forward to that! She isn't afraid to embrace the beauty of being human, and encourages people to be real with themselves; the raw, the beautiful and the ugly. I truly am fortunate to have gotten to know her and wish for others to do the same. " -- About Nono-- Q: How did you get into Visual Effects (VFX)?   A: I got into Animation & VFX because I was curious about how things are done. I wanted to know how cartoons (animation) were achieved, how they could behead an actor or have an actor blown up in a scene, but still be alive to do interviews after the movie. This was my curiosity as a kid who enjoyed watching TV. From that moment on, I got drawn into the world of Television, and I always knew I wanted to be a producer since I was in 2nd Grade. I followed my passion until I attained it. Q: What is your VFX specialty and title?  A: Production Management - VFX Producer I am passionate about leadership and leading with purpose. I love working with people, managing teams, providing support to others, and helping grow both people and the organization. Q: What projects are you most proud of?  A: Prehistoric Planet, Aquaman 2  I got to stretch myself and grow with these projects. I worked with teams across different sites and locations across three continents, which equipped me with effective communication skills and enabled me to deliver on high moving targets and pressure. Q: What advice do you have for women who want to go into the VFX industry?  A: Just go for it, be aggressive in your career moves. Be visible, speak up, and keep creating! Q: Is there a woman or multiple women who inspire you? Why?  A: Neha Hooda for her remarkable achievements and for continuously pushing boundaries. She is a PHD candidate whilst being in a demanding job of being an EP, that takes a lot of strength and resilience. Amy Mecer and Christina Graham deserve praise for dedicating their time and efforts to building and supporting women in their careers. Their selfless commitment to UpliftHer is truly commendable, as it's a task that many cannot undertake. I appreciate them for doing this and would like to see UpliftHer thrive in all its endeavors. #vfx #film #television #womeninvfx #womeninvisualeffects #women #womenshistorymonth #womensupportingwomen #visualeffects #outstandingwomeninvfx

Shahid - Ramadan At the moment, when we received a brief for this project, we decided that we have to find a way to win this bid and make it happen. Initial idea was to create an interesting commercial to show 7 unique digital environments and Crescent following through them with the main actors for a unique song created for celebration of Ramadan. We received 2 different treatments with different approaches for future implementation: everything would be shot on Chroma Key, or everything would be placed on LED screens and shot as an environment.  Initially, everyone wanted to create everything made of Stock footage and already existing assets, but during the Research & Development stage we realized that it won’t be an option because it won’t fit the idea and expectations from the client and directors. Initially, we have prepared treatment with 7 environments as it was in our production brief: - Space  - Lavender Field - Lantern  - Magical Forest - Desert - Clouds - Storm During the preproduction stage, once we won the project and started the Pre Production stage - we had to reduce the amount of environments in order to be able to fit the production timeline - 28 days. 2 weeks for Pre Production and 2 weeks for Post Production. Our biggest challenge was a timeline, which basically is not enough to plan everything thoroughly and make previz and animatic, we had to improvise on set, as well as directors didn’t want to strictly follow the storyboard, which was only ready by the shooting date. So, at the end we had to create 4 digital Environments: - Lavender Field - Clouds - Storm - Desert Additionally to the Digital Environments, we had to create: - Flying Fish - Butterflies  - Fireflies - Hot Air Baloons - Lizard - Ancient City - Crescent - TV Screen Content - Sails On the Post Production stage we had 64 shots, and all of them were needed to be working in parallel to be able to deliver in time. So, we had to improvise and work during the day as well as overnight, because we loved the idea of the project, and imagined a final result. So, it was a challenge, but we knew that we wanna make it happen. Client: Shahid Production: Bigfoot Films Executive Producer - Aly Seifelnasr Producer - Farah Abdelkader Post Producer - Aya Badr Post Production: High End VFX Producer - Alex Sytnik Art Director - Sergey Nakaryakov CG Supervisor - Sergey Metelsky VFX Supervisor - Alexander Wyatkin CG Environment Lavender Field - David Gobeev CG Environment Desert - Egor Vorobev CG Environment Clouds - Danil Maslov + Sergey Metelsky CG Environment Storm - Pavel Klimov 3D: Sergey Metelsky, Pavel Klimov, Petr Pavshintsev Roto/Cleanup: Egor Zhuk, Stepan Rozhkovski, Yuri Korshunov Compositing: Ilya Igonin, Ilya Kireev, Egor Zhuk, Vasily Rogozin, Dima Vasiliev, Vitaly Gusev  On Set Supervisor - Felipe Suarez Hernandez DI/Editor - Vlad Nazemtsev Color Grading - Evgeny Gvozdev Sound Designer - Dmitri Lobanov Link on Vimeo: https://lnkd.in/gAgdb_Up

"Artists are like light bulbs. When they burn, you replace them." Maybe it is only an urban myth, yet this sentence represents our perception of the low importance given to well-being in the animation and VFX industries. Even if technology is getting better, it helps create better-looking images and more impressive visual effects. Are our working conditions any better? Are we treating each other any nicer? Knowledge about management and production is spread by copying the behaviors of people who inspire or lead us. We replicate what seems to work for them in achieving what they want. You see a high-profile producer yelling at everyone on set. Once you become a producer, you copy the behavior. Get what you need by burning people. Simple lesson learned. We've been making films (and TV) while burning renewable resources. You make a film, push and break the team, and deliver the film. You win awards (if you are lucky), make money (luckier), and start another project, so you build another team to burn. This is not sustainable. These behaviors are copied from person to person, leading to the current status quo: "Clients are picky and abusive" and "We must crack the whip to motivate a team." Folks in the industry are getting sick of the abuse, people know better and they know "it is not worth it". So we must learn new and better ways to make production. Ways that are humane and help us increase our productivity while supporting our well-being. So let's skill up, people! The instruction manual on "how to treat each other in the entertainment industry" must be rewritten. Let's write better instructions on how to be a coordinator, a team lead, or a producer. Better instructions that account for the clear need for more well-being in the workplace, for a better work-life balance for everyone. Which will lead to better products, better stories, better images, and a better industry. Training is critical to creating a better, more productive, and safer work environment. At The Happy Producers, are breaking away from the old system that replicates what was done before ("this is the way we always do it"), and we want to start a new school of thought that teaches a better, more humane, and more productive way of doing animation and VFX production. Why do we do animation production? Because we are passionate about storytelling and want to share this gift with the world while prioritizing our well-being to allow us to be more creative and productive. I am writing the instructions for better bidding and scoping animation projects. A way that accounts for the team's well-being without sacrificing the quality of the screen. I am not shy about promoting my project because I want this new way of doing things to spread. I want you to learn it and improve on it. So that we can build a better, more humane industry.

Take a deeper look at how we made these fast-paced colorful characters and XXXXXL robots in our Mini-Mof

Check out this teaser for this beautiful short I had the privilege to work for!!

I've gotten my VFX shots for Madwip back, and I'm blown away by the final product. Originally, I thought it would be a difficult job to edit the iris of Lily's eyes, But Alex made light work of it! The idea behind Lily's eyes lighting up and turning this crystal blue color is for two reasons: 1) I wanted to show a visual representation of Lily having a vision of the future, but I didn't want it to be so big like in other shows we've seen. 2) Lily only has the visions because she is the bearer of Paschar's Totem (a G.I. Joe doll). Paschar is the angel of foresight and wisdom, and owning the totem connects her to him, allowing her to access his gift. When Lily uses her gift, her eye's reflect Paschar's eyes. His eyes burn a bright crystal blue, and are blinding to look at. Ultimately, the eye's flashing/glowing are just for the audience and are not noticed by the other people in Lily's presence. I can't wait to see the final product. VFX done by Alex Hitrenko

Can AI Create Better VFX? Check Out This AI-Assisted VFX Breakdown https://ift.tt/NatyST2 As we cover AI more and more, it’s become even more apparent that AI is very much here to stay. The only debate left is just which filmmaking skills and jobs are going to be more affected by AI versus which ones might remain more or less the same. In a fascinating look into the modern VFX process featuring artists at the height of the AI movement, we have a very cool VFX breakdown behind the scenes of Paul Trillo’s latest project. Let’s take a look at ‘Notes to My Future Self’, a liminal space project that features portraits of 25 people proclaiming their resolutions of what they will do tomorrow and how it was created with a mix of real production, VFX, and AI-assisted techniques. ‘Notes to My Future Self’ Designed to be part of a two-screen projection as part of the “Window To The Future” exhibition at the Telefonica Foundation in Madrid, Trillo’s project is a very interesting look into not only how AI can be part of a VFX process, but also more generally into how artists are choosing to create pieces which can better connect with their creativity and inspiration both for themselves and others. ‘Notes to My Future Self’ explores the threshold between today and tomorrow and the projections of the collective subconscious onto a yet-to-be-defined future. Against the backdrop of a boundless, AI-generated hyperreal dreamscape, we see everyday people express the thoughts that rattle in their minds before sleep. You can watch the full five-minute contemplative video piece below. ‘Notes to My Future Self’ VFX Breakdown While ‘Notes To My Future Self’ explores our persistent optimism in the face of the unknown, it also juxtaposes the raw, authentic moments of human vulnerability against the limitless potential of the future as conjured by AI. We can see this VFX breakdown in action as shared by Trillo, which showcases how he was able to combine a variety of AI tools into his process as a way to demonstrate how fluidly we can move between pre-production and post-production with the help of AI. Trillo had 10 days to shoot, edit, and composite, so this was key. As was using AI-powered tools like Stable Diffusion images and Photoshop Generative Fill and Expand, which were also upscaled with Magnific, Krea, and Topaz to get up to 8K resolution. We also see a lot of great insights into how Trillo worked with the lighting on the project, with a particular emphasis on matching the lighting for the plates he shot with his actors to what he eventually would use in the AI-enhanced backgrounds. Watch the full VFX breakdown here below: Paul Trillo Talks About ‘Notes to My Future Self’ We sat down to chat with Trillo about the project where he shared some more insights into his process, and thoughts on our collective future self in this new AI-defined world. Editor's note: The following interview is edited for length and clarity. NFS: Tell us a bit about...

Hello Dear , Subject: Proposal for VFX Services I hope this letter finds you well. I am writing on behalf of AR Creative Lab to present a proposal for providing comprehensive VFX (Visual Effects) services for your esteemed organization. At AR Creative Lab, we specialize in delivering high-quality VFX solutions that elevate the visual impact of films, commercials, TV shows, and other visual media. As a leading VFX studio, we have successfully collaborated with numerous clients, helping them bring their creative visions to life. Our proposal outlines the scope of work, key deliverables, and the value we can bring to your projects: 1. Project Overview: * Provide a brief summary of the project and its objectives. * Highlight the importance of VFX in enhancing the overall visual experience. 2. Services Offered: * Detail the range of VFX services we offer, including: * CGI (Computer-Generated Imagery) * Motion Graphics * Compositing * 3D Modeling and Animation * Rotoscoping * Matte Painting * Visual Effects Supervision, etc. * Mention any specific expertise or unique capabilities that set your company apart. 3. Team and Expertise: * Introduce your talented team of VFX artists, supervisors, and technicians. * Highlight their experience, qualifications, and previous successful projects. * Emphasize your commitment to delivering exceptional quality and meeting project deadlines. 4. Project Workflow: * Outline the step-by-step process involved in executing VFX projects. * Describe the collaboration and communication methods you'll employ to ensure smooth project management. 5. Deliverables: * Specify the expected deliverables, such as VFX shots, files, and formats. * Discuss the post-production support and revisions you offer to ensure client satisfaction. 6. Timeline: * Provide an estimated timeline for the project, including major milestones and delivery dates. * Mention your flexibility to accommodate any changes or unforeseen circumstances. 7. Budget: * Present a detailed breakdown of the project cost, including: * Pre-production planning * VFX production * Post-production revisions * * Offer transparency and flexibility in customizing the budget to align with the client's specific requirements. 8. Portfolio and Testimonials: * Enclose a portfolio of your previous work to showcase your capabilities. * We believe that our expertise, passion for creativity, and commitment to excellence make us an ideal partner for your VFX requirements. We would be delighted to discuss this proposal further and address any questions or concerns you may have. Please feel free to reach out to me at (Amarjeet@arcreativelab.com) or (8210681083). I am available at your convenience for a meeting or call. Thank you for considering AR Creative Lab as your VFX partner. We look forward to the opportunity to work together and create exceptional visual experiences. Yours sincerely, Amarjeet Singh VFX Supervisor AR Creative Lab Studio 8210681083,9167993755

In this occasion, i am privileged to engage in a conversation with Chaesar A a talented young FX artist hailing from Indonesia. Chaesar has produced a plethora of innovative works within the realm of Visual Effects (VFX), showcasing a creative prowess that remains largely undiscovered by the wider audience. 💬What is VFX? VFX stands for Visual Effects. It refers to the process of creating or enhancing visual elements in a film, television series, or other media using computer-generated imagery (CGI) or other special effects techniques. VFX can be used to create realistic environments, characters, and objects that would be difficult or impossible to achieve through traditional filmmaking methods. Some popular examples of VFX include the creation of CGI creatures in movies like Avatar and Jurassic Park, the addition of explosions and other special effects in action movies, and the manipulation of footage to create time-lapse or slow-motion sequences. 💬Why did you become an FX artist? Unfortunately, FX artists are quite rare and not easily available on demand due to the complexity and difficulty of using Houdini for FX. This makes it quite challenging, as FX is crucial in many videos and films. As a result, there is a high demand for FX artists who can deliver on demand. The scarcity of FX artists also adds to their value, as their skills are highly sought after in the industry. 💬 What opportunities have you seen in the world of VFX? As for opportunities, the VFX industry is constantly growing and evolving, with advancements in technology and increasing demand for high-quality visual effects. the world of VFX offers many exciting opportunities for FX artists who are passionate about creating stunning visual effects and pushing the boundaries of what's possible in film, TV, and beyond. 💬Which projects have you worked on, and which one are you most proud of? Having worked on diverse projects, including music videos, films, and advertisements, I take particular pride in Wonderland Indonesia 2. It stands out as my most great achievements, given its significant viewership, making it the project with the highest number of views. https://Inkd.in/gk_DypqX 💬What exactly does an FX artist do? FX artist is a visual effects artist who creates and manipulates visual effects in films, TV shows, and other media using computer software. Their responsibilities include 3D modeling, texturing, animation, compositing, lighting, rendering, and collaboration with other members of the VFX team. They use their skills in computer graphics and animation to bring incredible visual experiences to life on screen. Overall, the interview provides valuable insights into the challenges and achievements within the realm of VFX, showcasing the crucial role of FX artists in shaping the future of visual storytelling. -- English Final Exam Nama: Suci Efrina NPM: 2306202492 Here is his VFX result!