Cross Road Blues by photographer Oli Kellett, offers unique perspectives on the American experience by capturing urban intersections.
#ponnin selvan
Nikolay Skolkov talked about his presentation that covers a few techniques for the incredible cinematics in Houdini: sandstorm, rust spreading, flakes and more.
League of Legends Warriors Cinematics
This is a compilation of some old work from when I interned at Blizzard Entertainment in 2013-14. It was an amazing learning experience being surrounded by such awesome artists and mentors :) https://www.instagram.com/jasonkangart/
“#maac #animation #multimedia #gaming #visualeffects #maacsecunderabad”
I was very glad and fortunate to be able to leave my mark on such an iconic universe filled with some of the most known characters of all time. Enjoyed doing the Batmobile and adding my touch to this well known vehicle. Thanks to the concept artists and my leads for greatly assisting with the development on this. Worked with a reference highpoly mesh to start with before i went in and pushed most of it to what you see now. I took a different approach with this asset then i normally would. I did it entirely in zbrush with just cleaning up the bake(pushing and pulling verts) and unwrapping in 3ds max. And then texturing plus rendering within substance painter 2. p.s First image was rendered by https://www.artstation.com/jgraybeal :) check him out P.s go get injustice 2!!
🤔Did you know you can add your cameras in 3 ways?In today's quick tutorial, I will share with you tips on making getting started with making cinematics in U...
www.instagram.com/darekzabrocki Project: Destiny 2 Cinematics Client: Blur Director: Kevin Margo Last year I had a pleasure to help Blur with the series of cinematics for Destiny 2. I was tasked to do keyframes for openings/closing shots, environment design for pre-game look of the city being built and some additional color/composition paintings. Here is a batch of all paintings and sketches I did along the way for that project. Kudos to all guys from Bungie, game turned out great!
This is some of the work I did for in-game cinematics on For Honor, unfortunately, this asset didn't make it into the final game. -Modeled in Zbrush and Textured in Mudbox using Megascans maps. For Honor cinematics was a product of collaboration and hard work of many awesome people at Ubisoft Toronto and Montreal. All images were rendered with For Honor Anvil Fox engine and seasoned with Photoshop. @ Ubisoft Entertainment - All Rights Reserved.
#animation #multimedia #gaming #visualeffects #MAAC #maacsecunderabad #MAACanimationcourses #motion #graphicdesign
Project I did while I was a character artist at Digital Dimension. Credit to the fellowship @ Digital Dimension: Louis-Philippe Vermette (Executive Producer), Vincent Clemencon (CG Supervisor), André Lavoie (Art director), Eric Normandin (Team Lead), Louis-Michel Huard (Modeling-texturing), Vincent Vezina (Modeling, environment, grooming), Patrick Jordaens (Modeling-texturing), Pierre-Olivier Lévesque (Modeling-texturing). Deeply sorry for the one I forgot ! I did the High-rez cinematic version of Ar-Pharazôn, Uruks, Archer Rangers, Rohan soldiers and weapons. Shadow of war was a great milestone for me! MIDDLE-EARTH: SHADOW OF WAR © 2017 Warner Bros. Entertainment Inc. Developed by Monolith. © 2017 New Line Productions, Inc. © The Saul Zaentz Company. MIDDLE-EARTH: SHADOW OF WAR, THE LORD OF THE RINGS, and the names of the characters, items, events and places therein are trademarks of The Saul Zaentz Company d/b/a Middle-earth Enterprises under license to Warner Bros. Interactive
This in-depth tutorial goes through the entire production process for ‘Rebirth’, a cinematic produced by Quixel using Unreal Engine 4. Beyond its visual proc...
In this video we create a cinematic driven from data captured by take recorder during a gameplay session. We explore topics like the camera crane, motion blu...
Bus created for injustice 2 cinematics purposes. 3 maps (interior, exterior, windows)
Senior Cinematics Animator required at Warner Bros. Discovery. Should have strong Motion Builder or Maya user.
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On Battlefield V I worked as a 3D- and Level Artist on the Cinematics team, closely together with the other two 3D- and Level Artists on the team, and with the Animators, Lighting Artists and the Level Artists and Level Designers working on the War Stories. My main responsibilities was setting up levels, painting and sculpting terrain, prop dressing and creating 3D assets as well as writing briefs and giving feedback on 3D assets created by outsourcing. On the Last Tiger cinematics I mostly worked on the prop dressing and terrain sculpting and painting for the scene with the hanging bodies, for the ending cinematic and for the scene by the cathedral in the beginning and when they return there towards the end. I polished the prop dressing, terrain sculpting and painting for the desert scene in the beginning and the scene where they hide in the city. Special thanks to: Daniel Henefalk – Level Artist André Boström – 3D Artist Fabien Christin – Lighting Director and Cinematic Art Lead
On Battlefield V I worked as a 3D- and Level Artist on the Cinematics team, closely together with the other two 3D- and Level Artists on the team, and with the Animators, Lighting Artists and the Level Artists and Level Designers working on the War Stories. My main responsibilities was setting up levels, painting and sculpting terrain, prop dressing and creating 3D assets as well as writing briefs and giving feedback on 3D assets created by outsourcing. On the Under No Flag cinematics I mostly worked on sculpting and painting the terrain in the scene when they get hunted by enemy tanks in the desert, as well as setting up the base for the ruined house they park the car in. I also polished the end scenes to make sure the gameplay level and cinematic matched. Special thanks to: Daniel Henefalk – Level Artist André Boström – 3D Artist Fabien Christin – Lighting Director and Cinematic Art Lead
