View allAll Photos Tagged visualeffects
Well since some of you asked this is on my Mac computer while listening to my iTunes I put the visual effects and constantly changing images created on a screen not one is alike, It depends on the songs style of music, I love when I play classical music and put it on while commenting on your great captures. Please view large
Eyes Kirschataria doing his amazing work once again!
RGB Shadow Entity - [Chris Two Designs]
Say goodbye to the old Shadow Walker!
Join the RGB Shadow Army!
HUD Controlled
3 Modes - Shadow Path (Static, Smoke, Fire)
Customize:
Start/End Shadow COLOUR or use RGB Mode
Start/End Shadow SIZE
Shadow Lifespan (3-10s)
6 Body Types - to better fit a wide variety of AVs
Teleport Mode - Particle Effect Explosion after TP
Stationary Mode - keeps Shadows ON when stoped
Scary Mode - summons Single Shadows (range 1-10m)
Flying and Crouching modes have different shadow patterns
Hey, we will be moving soon. Save our new landmark: maps.secondlife.com/secondlife/Chris%20Two%20Designs/61/1...
Would you like to be our Blogger?
Our Blogotex Blogger Application is OPEN: members.blogotex.com/s/WJK
Empty blue plastic chairs and tables in the rain. (GETTY IMAGES)
I love the visual impact of these blue chairs from this angle.
I was waiting for the rain to stop when I spotted this at Tianmen Mountain, Zhangjiajie, China.
Photography is great in the rain but not good for the camera!
It's raining in Sydney 9-17C
Have a great Sunday!
ⱫØⱤ looks soo good on this Shot OMG!
RGB Shadow Entity - [Chris Two Designs]
Say goodbye to the old Shadow Walker!
Join the RGB Shadow Army!
HUD Controlled
3 Modes - Shadow Path (Static, Smoke, Fire)
Customize:
Start/End Shadow COLOUR or use RGB Mode
Start/End Shadow SIZE
Shadow Lifespan (3-10s)
6 Body Types - to better fit a wide variety of AVs
Teleport Mode - Particle Effect Explosion after TP
Stationary Mode - keeps Shadows ON when stoped
Scary Mode - summons Single Shadows (range 1-10m)
Flying and Crouching modes have different shadow patterns
Hey, we will be moving soon. Save our new landmark: maps.secondlife.com/secondlife/Chris%20Two%20Designs/61/1...
Would you like to be our Blogger?
Our Blogotex Blogger Application is OPEN: members.blogotex.com/s/WJK
Last week, I finally got to see Jeff Wayne's 'War or the Worlds', it didn't disappoint. It was visually stunning and the music was, as expected, excellent - so, here's a taster, picture of the Martian fighting machine that took centre stage. Nottingham Arena 23/03/2022.
the eraser
La realtà è quella cosa che, anche se si smette di credervi, non scompare.
(Philip K. Dick)
A new album with images full of colour.
Images different from what I usually upload to Flickr.
These are images from a study of color theory that I did many years ago...
Today I made a GPS satellite and an Earth. Tomorrow I will put them together and add the sun and the moon.
In this photo, does the railing of the staircase appear perfectly straight, or does it deform into an undulation, like a wave, as soon as you look at it? Is what we perceive, as individuals, objective reality, or just a subjective interpretation of it? Between different people, do we share the same vision of the world around us, or are our perceptions shaped by our unique experiences? In short, aren't there as many realities as there are individuals? Couldn't we say that the world is, in the final analysis, only what we choose to see in it?
Sur cette photo, le garde-corps de l’escalier semble-t-il parfaitement droit, ou se déforme-t-il en une ondulation, comme une vague, dès que votre regard se pose dessus ? Ce que nous percevons, en tant qu'individus, est-il la réalité objective, ou n’est-ce qu’une interprétation subjective de celle-ci ? Entre différentes personnes, partageons-nous la même vision du monde qui nous entoure, ou nos perceptions sont-elles façonnées par nos expériences uniques ? En somme, n’existe-t-il pas autant de réalités qu’il y a d’individus ? Ne pourrait-on pas affirmer que le monde n’est, en définitive, que ce que nous choisissons d’y voir ?
there were models.
from the archives (10 years ago).
Inside the motion-control stage of "Image G". Me and the three models of the Enterprise-D used in Star Trek: Then Next Generation.
The "6 footer" built by Industrial Light & Magic was used for the pilot of "Star Trek: The Next Generation" it was built with individual lights and fiber optics controlled by a box (on the floor). The ship would be shot "motion-control" allowing the same camera move to repeated over and over again. The different lights (windows, nacelles, deflector dish, blinkies) were shot separately in "light passes" because each required a different exposure. The "ship pass" "matte pass" and all the "light passes" (altogether 10-20 passes) were composited together digitally in post-production to produce the ship you see on the television show.
The "4 footer" built by Greg Jein. This model was used for the majority of the series because of it's smaller size and ease of use with the motion-control rig. It was built with lighter materials and a better lighting system.
The "baby" was similar to a kit you could buy at a store. This model is different from the 4 and 6 footer in that there were no electronic lights built into the windows. Rather, 3m reflective tape was placed where windows were and were illuminated with a simple lamp.
The "gooseneck" model was built for an episode needing a close up of the gooseneck without the "saucer" section of the Enterprise attached.
Under the blanket behind me is the 6 foot model of the space station "Deep Space Nine".
There was an even bigger model of the Saucer built for the "Saucer Crash" sequence in the feature film "Star Trek: Generations". The model is 10-12 feet long and built by Industrial Light & Magic.
This is based on an assumption of course. However, the most significant thing about this photograph is that I took it with my old Canon model 60D after unpacking it late last night, dusting it off and re-charging the battery. It has had a rather loud shutter, since new, but still takes a pretty good image, so to speak. Frankly, after using a Nikon camera for the last year or two, I actually did forget what some of the buttons do, but the more I played with it the better things got...
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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on the tarmac, reality and reflection converge in a dance of motion and stillness. a plane, cradled in the golden arms of the terminal’s embrace, becomes an echo on the sunlit glass—a doppelgänger caught between takeoff and touchdown. hues of industry and azure blend above, where another craft, borne from the realms of digital alchemy, floats in the boundless canvas of the sky. here, in malpensa's gateway, stories unfold in whispers of winged chariots, ferrying dreams across the globe.