This is a Masters Project done at Teesside University. In this project, surreal methods have been used to juxtapose the multiple 3d elements. 1. Screening ''Moving Buildings'' Festival 2011 Amstelveen, Netherlands.
ERESHA S
VFX Artist/Motion Designer
Presently I am working as a Digital Compositor and Motion Designer at Liquid TV and also worked for more than 12 years for Film, Television Channels such as BBC, Discovery, ITV, CNBCTV 18 and involved with major commercial brands Sony, Lenovo, HP, Nikon, Panasonic and Royal Enfield.
My VFX Short film ‘’Mara’’ won Best VFX award at ‘’Cortoons’’ International short Animated film Festival of Rome, and got First Runner-Up award at ‘’Animex’’ International Festival of Animation and Computer Games.
Enjoy this part 2 of the Last Day of War" by the talented Dima Fedotov! The last war broke out. All the people are dead, but the machines continue dutifully to fo llow orders. The automatic base machines begin fueling and charging the weapons of last surviving bomber preparing it to drop bombs on the dead enemy city. This happens until the last echo of mankind subsides completely. Then comes a new era in which there is no place for us. For more information, please see the details and links below:
Final Fantasy maker and tech-demo master Square Enix unveiled a doozie of a demo at Microsoft's 2015 Build conference. Titled Witch Chapter 0 [cry], the demo showcased a range of DirectX 12 technical and processing wizardries to create a real-time animation on par with pre-rendered cut scenes and movies.
Update: We now have some delicious full-resolution screenshots of the demo, which you can check out at the end of the post.
During the demo (which you can view below), Microsoft's Steve Guggenheimer explained each scene contained around 63 million polygons, which is supposedly up to 12-times more than Square Enix managed to render in its Agni’s PhilosophyDirectX 11 demo back in 2012. Running 63 million polygons with high-resolution textures—8K by 8K in this case—is no small feat. By comparison, Star Citizen's biggest carrier ships run up to around seven million polygons, while Ryse's protagonist Marius was made up of 85K polygons on the Xbox One.
One of the most impressive moments in the demo is when Guggenheimer zooms in to the character model, revealing an immense amount of detail right up to the individual pores on her skin. The character's hair was also revealed to be made up of individual polygons rendered with over 50 shaders and not the less expensive surface mapping technique that's commonly used to create features such as hair.
Check out this Sci-Fi CGI Animated short film by the talented Dima Fedotof! "Fortress" is cartoon parable. Despite the fact that most of mankind has been killed off, the war still continues because of an automated system left by people. One of the last surviving bombers still performs it's task to destroy a city long since dead. The war wages on until the last echo of humanity has been completely destroyed. However, life will always find a way to survive.
Hi! my name is Dima Fedotof, I'm an CG artist and computer short animaton director. I am an CG artist for a long time, and I prefer not to count by the years (I do not remember them) but by 3dmax versions. When I started working, actual version was 3dmax 3.2. At first my computer, who had already 32 megabytes of RAM, and hade big anough vinchester for windows and max or windows and 1 game. So I had to constantly reinstall them. Yes, long ago it was. Then I decided for myself what is CG. This is a new art form, underrated and misunderstood. Now CG is highly valued, but the era of post-modernism has made computer graphics mechanical art, which undoubtedly sad. However, postmodernism did not spare anyone, so that's all right. No one is offended.
Starting with a 3D painting, I gradually moved to create a short animations. In 2013, I made the animated short "Fortress" who suddenly liked people. Given that I do not have professional education, it probably indicates a certain abilities, maybe even talent! I like to think so. For the moment I'm doing the development of these skills by working on a new project, the working title of which - "the last day of the war." Here on the site you can see my work, if you have any questions, feel free to write me d.s.fedotof@gmail.com Сейчас я живу в прекрасном городе Санкт-Петербурге, планирую полнометражные мультфильмы и анимационный сериалы, пишу сценарии, рисую концепты, в общем без дела не сижу
After losing control of his engines, bumbling spaceman Fripp finds himself at the mercy of his spaceship. A thrilling descent through an asteroid belt ensues, after which he finds himself marooned on a post-apocalyptic Earth. Without a working spacecraft, the interstellar time-traveler must dip into the dead planet’s history in order to find a way home.
Fripp:Mark Taylor Young Couple:Ben Ridgwell & Lelda Kapsis Little Girl: Leica Quinlan Kids in Park: Ollie & Scout Jansson Angry Father: Craig Jansson Dreadlocked Busker: Nick Major
AWARDS
Audience Award – Best Short (Fantastic Planet 2014)
Best Foreign Short (California International Shorts Festival 2014)
E N V O Y is a science fiction, action adventure, short film to be used as a proof of concept for a larger full-length motion picture. It is the story of a troubled young boy who befriends a deadly alien creature, and embarks on a life changing journey. A love-letter to many of the classic action-adventure and science fiction films of the ’80s & ’90s, ENVOY is a passion-project created by Director DAVID WEINSTEIN and Visual Effects Supervisor ADAM COGGIN.
The story has an Iron Giant kind of feel to it, as the story centers on a young boy who comes across a giant robot. The two share a little moment together before the military comes in to take out the robot. The design of the robot is really cool, and it is incredible to see this get picked up by a studio because it's pretty damn impressive.
Weinstein and his team combined traditional film-making techniques with cutting-edge visual effects and animation to meticulously craft the nine-minute short film. The goal is to introduce the story and concept of ENVOY to fans and financiers while demonstrating the teams ability to craft high-budget content for a fraction of the cost.
-
Written & Directed by: DAVID WEINSTEIN
Produced by: MARIAM PRICE, DAVID WEINSTEIN, ADAM COGGIN
Visual Effects Supervisor: ADAM COGGIN
Director of Photography: MARIO CONTINI
Edited by: PHIL BUCCI
Music Composer: EDWIN WENDLER
Starring: WILL SPENCER, JAYSON ZIEGENHAGEN, PAUL THOMAS ARNOLD, MURDOCK TIMMONS, ELIJAH ALLEN-BLITZ
Middle-earth is a fantastical world of imagined landscapes and many incredible digital creatures. We completed almost 2000 VFX shots for the film, encompassing hero digital performance work, large scale water and fire simulations, complex digital environments, digital doubles of a large cast, and extensive creature work. Take a glimpse at the invention, artistry and innovation that the artists at Weta Digital used to make it all come together in The Hobbit: The Desolation of Smaug.
Check out this fantastic VFX (visual effects, abbreviated VFX) Showreel for the feature film "Stalingrad" created by the talented folks over at Main Road/Post! Main Road/Post is a top visual effects production studio that has produced visual effects for film including The Admiral, Wanted, The Inhabited Island, The High Security Vacation, August. Eighth, Metro, and Stalingrad under the expertise and direction of CEO/VFX Supervisor Arman Yahin and CTO Mikhail Lyossin.
For more information, check them out here: facebook.com/MainRoadPost and www.mrpost.ru
Main Road|Post, a Russian VFX studio added numerous effects to the film Stalingrad including numerous destruction and debris shots. One of their biggest challenges was to seamlessly integrate and match up VFX elements into shots where practical effects already existed. This included shots with existing smoke and fire footage. They had to generate CG crowds that could react realistically to explosions while choreographing a sequence of shots depicting a military aircraft’s fiery descent into Stalingrad’s town square.
To achieve these results in a small studio setting, Main Road|Post turned to the Pyro FX, Cloth, and Particle tools in Houdini. They also used Houdini’s Mantra renderer and Houdini’s character tools to solve some animation challenges.
A band of Russian soldiers fight to hold a strategic building in their devastated city against a ruthless German army, and in the process become deeply connected to two Russian women who have been living there.
STALINGRAD
Art-Pictures
Nonstop Production
directed by: Fedor Bondarchuk
cinematography by: Maxim Osadchy
production designer: Sergey Ivanov
produced by: Alexander Rodnyansky, Sergey Melkumov, Dmitriy Rudovsky
