Resources for artists living life in 3D: breakdowns, tutorials, interviews, and more
SERIES: Part 2/4 – Sweden's FABLEfx offers tips and tricks to improve your rigging skills when creating photoreal 3D animals in Maya.
From VFX "black magic" in the trailer to getting muscle jiggle working nicely with leather settings in the cloth, these were my contributions.
My name is Francois-Xavier Nhieu. From creating a cache of the animation to setting a character bind pose, this was my experience on Marvel's latest.
From impeccable animation to ensuring good simulations for the costumes, and a nice-looking motion blur for the shots that cut on action, this is my story.
I'm Rick Curts. From gathering elements and placing them in correct world space to maintaining the vision of the edit reference, this was my experience.
I'm Matt Ivanov. From street extensions and alterations to existing buildings in the car chase sequence, these were my contributions to Marvel's newest blockbuster.
I'm Kathir Manickam. From ensuring flawless matchmove submissions to working closely with the Digital FX Supe, this was my experience.
My name is Remi Cauzid. From rigging and creature effects to managing multiple down-streams, this was my experience working on Marvel's latest.
My name is Daniel Axelsson. From modeling, texture, and look-dev tasks to liaising with other supervisors, this was my experience on Marvel's latest.
VFX Supervisor Alessandro Ongaro on the technical and creative challenges behind this tiny superhero, and the gargantuan importance of teamwork.
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