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༻ CREDITS ༺
༻ [TNK x TRV] - CERBERUS GRAVE - (FATPACK) ༺
• EXCLUSIVE - TOKYO ZERO - OPEN ▌CLOSED: 10th 2:00 PM SLT ~ 25th 2:00 PM SLT •
• COMES WITH:
•2 Cerberus Fire Mode
-Rapid Fire
-Overclock + Eletric FX
•20+ SFX & VFX
•Sit Action
•3 Ultimate Skills
-Demolition Shot
-Storm Barrage
-Raging Tornado
•5 Wrapping Textures
-Full Black
-Gold & Black
-Black & White
-Cosmic (Fatpack)
-Industrial(Fatpack)
•30+ Bento Animations
Generated By Midjourney V6
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**🎬 Prompt (FR) :**
Une scène hyperréaliste en macro-cinéma représentant une baleine biomécanique futuriste flottant à l’intérieur d’une goutte d’eau parfaitement sphérique en suspension dans l’air. La goutte agit comme un micro-écosystème autonome, avec un fond marin miniature composé de roches, de végétation aquatique luxuriante et de micro-organismes lumineux.
La baleine, massive et majestueuse, possède une peau mêlant textures organiques réalistes et structures mécaniques avancées : plaques métalliques finement intégrées, circuits lumineux bleutés pulsants, cœur énergétique circulaire irradiant une lumière cyan intense depuis son flanc. Ses yeux émettent une lueur douce et intelligente. Des détails microscopiques révèlent des joints, câbles et nanostructures fusionnés avec des tissus biologiques.
Autour d’elle, de petits poissons nagent en bancs, capturés avec un flou de mouvement subtil. L’eau dans la goutte présente une surface interne avec tension de surface visible, légèrement ondulée, captant et réfractant la lumière.
**Éclairage :**
Lumière volumétrique froide et cinématographique, dominante bleu/teal, avec des reflets spéculaires réalistes sur la surface de la goutte. Halo lumineux doux autour de la sphère. Effet de caustiques aquatiques projetées à l’intérieur. Particules flottantes visibles dans l’air et dans l’eau.
**Ambiance :**
Silencieuse, contemplative, légèrement futuriste et onirique, mélange de nature et de technologie. Sensation d’un monde encapsulé, fragile et précieux.
**Caméra :**
Plan rapproché en légère contre-plongée, profondeur de champ faible (bokeh cinématographique), focus ultra net sur la baleine et le cœur lumineux. Lent effet de travelling avant.
**Qualité visuelle :**
Ultra haute définition, photoréalisme extrême, rendu 8K, textures détaillées, ray tracing, global illumination, HDR, rendu type film de science-fiction haut de gamme.
**Style :**
Fusion entre nature océanique et science-fiction avancée, esthétique proche de concept art AAA, inspiration studios VFX (cinéma haut budget).
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**🎬 Prompt (EN):**
An ultra-realistic macro-cinematic scene depicting a futuristic biomechanical whale suspended inside a perfectly spherical droplet of water floating in mid-air. The droplet functions as a self-contained micro-ecosystem, featuring a miniature ocean floor with textured rocks, lush aquatic vegetation, and faintly glowing microorganisms.
The whale is massive and majestic, its body seamlessly blending organic realism with advanced mechanical design. Its skin reveals intricate metallic plating, embedded circuitry, and softly pulsing bioluminescent lines in shades of cyan and electric blue. A radiant circular energy core glows intensely from within its side, casting subtle light through semi-translucent layers. Its eyes emit a calm, intelligent glow. Microscopic details expose joints, cables, and nanostructures fused with biological tissue.
Surrounding the whale, small fish swim in delicate schools, captured with subtle motion blur. The inner surface of the droplet shows visible surface tension, gently warping reflections and refracting light in complex ways.
**Lighting:**
Cool-toned cinematic volumetric lighting dominated by blue and teal hues. Realistic specular highlights shimmer across the droplet’s surface. Soft halo glow envelops the sphere. Dynamic underwater caustics ripple within. Fine floating particles drift both inside the water and in the surrounding air.
**Mood & Atmosphere:**
Silent, contemplative, slightly futuristic and dreamlike. A poetic fusion of nature and technology. The scene evokes the feeling of a fragile, self-contained world suspended in time.
**Camera:**
Close-up shot with a subtle low-angle perspective. Shallow depth of field with cinematic bokeh. Razor-sharp focus on the whale and its glowing energy core. Gentle forward dolly movement.
**Visual Quality:**
Extreme photorealism, ultra-high definition, 8K resolution, highly detailed textures, ray tracing, global illumination, HDR rendering. Premium sci-fi film aesthetic.
**Style:**
A fusion of oceanic naturalism and advanced science fiction. High-end concept art style inspired by AAA VFX studios and blockbuster cinema.
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--ar 1:1 --v 6 --style raw --q 2 --s 750 --chaos 12 --weird 50 --uplight
Featuring - [TNK x TRV] - SANCTUM PUNISHER - (SPECIAL EDITION)
Comes with 3 Punisher Fir Mode Rapid Fire,Energy Ball and Laser Blast 20 + SFX & VFX Sit action 4 Wrapping Textures +30 Bento Animations Automatically adjusts to your avatar size
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Backdrop-Synnergy// Wasteland Backdrop
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Wearing
Top-::GB:: IGNITE vest (Legacy_A) Black
Gloves-::GB:: IGNITE Gloves (Legacy)
Pants- ::GB::Leather boots in pants / long (Legacy) Bicolor
These are builds and photos I did for the LEGO Adventure Book Volume 2. Many thanks to Megan Rothrock for inviting me to be involved and to Pete Reid for loaning a few select pieces.
this one is all me, but Pete Reid's influence is clearly seen in my midi scale NCS Galaxy Explorer
I did some weeks of on-set VFX supervision in Jordan early 2019. The drone ( DJI Inspire ) footage that was shot here would later be added in post to the windows inside an army plane.
This photo is to commemorate my time working at home on an animated series in 2020.
In the early stages of production, it is essential to be on-set or in the Motion Capture Studio to capture the performance of the actors. After these initial stages of an animated series or film, it is easy to work from home for the remainder of a project.
All of this is made possible by working with a core team of competent responsible people with the same vision, and a good Producer to keep the communication flowing. There are some challenges, but I don't miss rush hour traffic. All the extra hours that you gain, actually leads to increased productivity.
By sharing project recourses in the cloud, and being able to log in to the render farms and servers when needed, finally allows one to work remotely.
A compilation featuring snippets of the projects done remotely:
vimeo.com/mheigan/mocap-reel-2020
The dogs also approve when I spend more time at home!
Martin
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[Website] [Photography Showcase] [eBook] [Facebook]
‘GOLDEN STAR’
VH-VFX as JQ221 to Queenstown (ZQN/NZQN) from 16R Sydney Airport (SYD/YSSY) in some of the most spectacular lighting I have seen in some time…. Sadly, it didn’t last terribly long!!
Chris invited me to also come out to shoot while he was at Vasquez Rocks.. so I did! He didn't say -what- I should..could.. shoot.. (so that's him). He's done all sorts of commercial and feature work at the park over the years, but today he was just out taking stills.
Check out this large scale panoramic photography suitable for large scale printing for office foyers or boardrooms, advertising billboards or visual effects and backdrops.
Coruja das Torres I Tyto alba
VFX, Portugal
Do báu... com saudades de ter um bocadinho de tempo para esta vida.
‘GOLDEN STAR’
VH-VFX as JQ221 to Queenstown (ZQN/NZQN) from 16R Sydney Airport (SYD/YSSY) in some of the most spectacular lighting I have seen in some time…. Sadly, it didn’t last terribly long!!
Filmando en el ex aeropuerto de Cerrillos en Santiago. Tomando referencias de luz para los 3D, con un atardecer de aquellos.
A Stereographic Panorama of the Motion Capture Studio setup for one of my large Mocap projects.
Setting up the Studio for a large multi-character Mocap shoot:
Mocap set-up time-lapse video.
Mocap Technical Direction and Supervision:
Martin
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[Website] [Photography Showcase] [eBook] [Facebook]
After Doctor Strange's nomination for best Visual Effects was announced yesterday, Peyton Reed took to Twitter to confirm VFX artist Stephane Ceretti, who did the visual effects for both Doctor Strange and Guardians of the Galaxy, will in fact work on Ant-Man and the Wasp!
This is great news because I believe that Doctor Strange has the best VFX in the MCU so far! Does this also give us a clue of what Ant-Man and the Wasp is going to look like? Hear me out. So since this guy worked on a lot of those trippy dimensional stuff in Doctor Strange, could we see that carried over to this movie with Subatomic to the Quantum realm to find Janet Van Dyne?
That's just a theory of mine, and even though I'd prefer Ant-Man and the Wasp to stay earthbound for their movie, because I believe that's where their best stories and villains are, I wouldn't be too surprised if that's the direction they're going in.
Anyways, leave your thoughts on this piece of news in the comments below!
Preserved - Tyler Brace
(former Stagecoach East)
AE51 VFX (33305)
Dennis Dart Plaxton Pointer 2
For more information visit the Facebook page: www.facebook.com/AE51VFX