Title: Fall 09 OCPS CTE Testimonial TV Spot
ISCI: 9OCPS0135
Length:60
Director: Diego Torroija
Client: OCPS
Agency: evok
Production Company: two door fx
twodoorfx.com
evokad.com
This Visual Effects Blog is a meeting place for Visual Effects people and creative teams from all over the world. The intention is to exchange ideas and tricks in order to contribute to your production and Visual Effects, 3D, and Motion Graphics for Film, Commercials and Music Videos.www.twodoorfx.com
Thursday, July 9, 2009
OCPS CTE Tel TV Spot ISCI: 9OCPS0135 Length:60 stimoniawww.evokad.com www.twodoorfx.com
Saturday, June 20, 2009
Monday, June 15, 2009
Poor Man’s Motion Controlled Shot
Poor Man’s Motion Controlled Shot
When people look at this shot the first thing they think of is motion control. However, we were able to use a technique that allows for some multiple passing shots, ultimately duplicating the main character without the big expense.
Here is the trick:
We shot using a laser on the dolly, which was pointing down at the floor, and marked it with tape.
We then timed the move with a stop watch at each mark along the track of the dolly. We panned only in the beginning of the shot, locking the boom and head tilt, keeping the camera at eye level.
We shot at 720 P 60 fps to obtain timing resolution on an edit time base of 24 fps. This allowed us to control the layers and adjust time remapping to match all plates together.
We rotoscoped each layer and created shadows and floor reflections in Adobe After Effects.
Add some color correction and it’s done. It’s time consuming but simple and also 40 K cheaper :)
Let me know if you have any questions.
Go shoot! Have Fun !!
www.diegotorroija.com
310-936-6194
When people look at this shot the first thing they think of is motion control. However, we were able to use a technique that allows for some multiple passing shots, ultimately duplicating the main character without the big expense.
Here is the trick:
We shot using a laser on the dolly, which was pointing down at the floor, and marked it with tape.
We then timed the move with a stop watch at each mark along the track of the dolly. We panned only in the beginning of the shot, locking the boom and head tilt, keeping the camera at eye level.
We shot at 720 P 60 fps to obtain timing resolution on an edit time base of 24 fps. This allowed us to control the layers and adjust time remapping to match all plates together.
We rotoscoped each layer and created shadows and floor reflections in Adobe After Effects.
Add some color correction and it’s done. It’s time consuming but simple and also 40 K cheaper :)
Let me know if you have any questions.
Go shoot! Have Fun !!
www.diegotorroija.com
310-936-6194
Thursday, June 11, 2009
Wednesday, June 3, 2009
3D Animation Using Real Physics
I created this animation as an example to use in scene reconstruction cases.
I used 3d Studio Max to create animation modeling and render.
I then deformed the crash cars by using FF Performers in Max.
After that, I used Adobe After Effects for composting and Photoshop for textures.
I first created a physics rig and then I applied it to a scene where I was able to drive the car inside the city.
I network rendered overnight in 4 64 bit duo quad computers and
added simple sound effects for fun at the end. It took me about 4 days to put together.
I hope you enjoy it!
Diego Torroija
310-936-6194
Visual Effects Supervisor
I used 3d Studio Max to create animation modeling and render.
I then deformed the crash cars by using FF Performers in Max.
After that, I used Adobe After Effects for composting and Photoshop for textures.
I first created a physics rig and then I applied it to a scene where I was able to drive the car inside the city.
I network rendered overnight in 4 64 bit duo quad computers and
added simple sound effects for fun at the end. It took me about 4 days to put together.
I hope you enjoy it!
Diego Torroija
310-936-6194
Visual Effects Supervisor
Thursday, May 14, 2009
Under Water Mermaids Using Motion Capture
Hey there,
Two Door FX just finished the first under water motion capture shoot ever.
Brad Fuller, the producer/director, was generous enough to let us use his home/pool for the shoot.
We shot with 2 red Cams at 3k resolution with varying frame rates (24) and 60 FPS. The clients (Falcon Tree House) were very nice guys with a tremendous vision and scope.
The motion capture was done by triangulating the two cameras and using a new Real Time rotoscope technology, in combination with tracking markers.
Stay tuned for more details coming up
Two Door FX just finished the first under water motion capture shoot ever.
Brad Fuller, the producer/director, was generous enough to let us use his home/pool for the shoot.
We shot with 2 red Cams at 3k resolution with varying frame rates (24) and 60 FPS. The clients (Falcon Tree House) were very nice guys with a tremendous vision and scope.
The motion capture was done by triangulating the two cameras and using a new Real Time rotoscope technology, in combination with tracking markers.
Stay tuned for more details coming up
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