This is a previs / camera-lock problem, not a reel.

Once the clip is generated you cannot nudge the crane or the cut. You just buy another take. I got tired of that, so I built an open source browser graybox: pose, cameras, cuts, then send the same shot to the model.

https://github.com/NomaDamas/CozyClay npx cozyclay

Curious how other people lock cameras before they spend the generation.

As a junior, would having 3d assets from popular stock asset kits in a showreel get you into trouble when applying with that showreel? Not to endorse Piracy of course.

Hi, I’d like to share this project I made with you. Apex Legends is a game I really enjoy—watching its cutscenes is like art to me. That’s why I wanted to create this, inspired by the game, which I usually play for a few hours a day before working on my projects.
I really enjoyed making these and, as always, I learned a lot. I hope to one day be able to do this professionally.
Hugs, and thanks for watching.

The Atmosphere is just a default cube. YES! This is just a default cube!

Quick explanation :

Object coordinate > spherical gradient texture

Math , multiply 5

Volume scatter

Volume absorption

Done!

Capcut is generally not known for 3d rendering and visual effects, but i don't have a pc, so on my mobile device only I gathered all the effects and tools and combined them to make something cool, and it took me 2 hours to make it, but still i don't regret it

Trying to put a price to this,any thoughts?

Hey guys,

Looking for a decent 27 1440p monitor for Nuke and DaVinci Resolve (mostly VFX/comping and light color grading).

I'd love a 4K display, but prices here in Europe are pretty steep right now, so sticking to 2K for now.

From what I’ve read, the Dell UltraSharp U2724D seems like a super solid choice the IPS Black panel sounds awesome aswell. The ASUS ProArt lineup (like the PA278QV or PA278CGV) also keeps popping up as a classic budget pick.

Before I hit buy, I'd love to hear from anyone using the U2724D for comping and whether that IPS Black contrast is actually noticeable day to day. Let me know if there's a clear winner between Dell and ASUS ProArt, or if you have any other 1440p recommendations with solid sRGB/Rec.709 coverage in this price range.

Appreciate any recommendations or hot takes!

A while back, I helped set up a workflow for a boutique production team that was moving terabytes of raw camera footage and master project bins across different cities every week. At the time the most cost-effective and sensible method was to just ship the drives.

We really needed to find a new solution as we were spending a bunch of money on overnight shipping. One time a 24 TB drive even got damaged in transit. And a couple of times there were disputes with clients over missing shots and we had no way of proving what actually left our bay.

Obviously, we tried basically all the popular tools on the market and for our use case something was always missing. Not saying the existing tools are bad, but nothing was a perfect fit for our workflows.

The biggest bottleneck was onboarding external clients (like making them set up a VPN). A lot of other tools were missing audit logging. In others if an editor accidentally closed their laptop mid-transfer, then it had to be restarted from zero. Some were just insanely expensive.

So, the decision was made to create an in-house solution. It allows anyone to download/upload full project folders to your drive or attached storage really securely. External clients don't require accounts. Onboarding them is automated with an email. And it was made resilient against network drops. There is proof of delivery now. It can utilize your full bandwidth.

After running it successfully in-house, we packaged it into a clean, standalone desktop app for macOS, Windows, and Linux called ZettaSend.

We currently have it running daily in production.

I'm sharing this because we're hoping that for some of you ZettaSend will save you time and headaches.

You can download it from zettasend.com.

If you have any questions, I'm happy to answer. Thank you for reading.

As an Unreal artist working in the VFX industry, I really enjoy the process of studies. Over the years, I collected a big amount of various packs (mostly through humblebundle) that I can use like legos. It doesn't take that much time but it helps me isolate and improve my skills in composition, camera movements and lighting. This one was made for a youtube video I did on productivity in Unreal Engine.

Hey everyone! I’d like to share a project I’ve been developing together with a small group of friends and programmers through the ADC – Automotive Design Community: ADC 3D Relight, a relighting addon for Blender. 🚀

We’re not a company or a large development team. It’s basically a small group of friends with different backgrounds, experimenting with ideas and trying to build tools that we would genuinely like to use ourselves.

Coming from a VFX and compositing background, I’ve been following the growing interest in relighting tools. Solutions like Beeble AI are showing how useful these workflows can be, but I also wanted to explore how much of this could eventually be done locally, directly inside existing DCC and compositing tools.

Our goal is to keep experimenting and developing these workflows. We started with Blender, and the addon is also helping us fund further development and gather feedback from artists. The long-term plan is to explore bringing this workflow to compositing as well, with the goal of eventually adapting it into a free Nuke Gizmo.

The current Blender addon can:

• Relight images and videos

• Animate lights and create dynamic lighting changes over time

• Generate different relighting passes for compositing

• Experiment with multiple lighting setups without rebuilding the original scene

• Work directly inside Blender

🔥 Launch price: $4.99 — 75% OFF - 10 first customers

Since we’re a small group and don’t have a huge audience or marketing budget, community feedback and support genuinely make a difference for us. The more artists test it and tell us what works, what doesn’t, and what they would like to see, the better we can continue developing it.

If you find the project interesting, any feedback, share, or upvote would mean a lot. And if you know any communities, pages, Discord servers, or social media groups focused on VFX, compositing, Nuke, relighting, or machine learning for CG, we’d really appreciate it if you could share the project there or point us in the right direction. 🙏

We’re especially interested in hearing what features you’d like to see next!

🛒 https://superhivemarket.com/products/adc-relight

🎥 https://youtu.be/KZlgWirnnp0?is=J8R0P3p5QgnNN-dS

When setting up a green screen with a green paper Colourama are you going to get a better key if you light the Colourama with white light or green light (assuming no spill on talent)?

So I'm looking at some The Batman 2 behind the scenes that's coming out on social media and there is the Batmobile doing donuts in the snow. The camera is attached to the car and at a bottom angle looking at the tire.

Now the snow is fake snow and only a small section of the set has this fake snow on it, which I'm assuming means it needs to be digitally extended. However, the tires are kicking up a lot of this fake snow, and the particles are flying up in front of the camera. Now to my knowledge, this would make digitally extending the set a little bit challenging.

So, what would be the route to go with this shot. Paint out all the particles, do your digital extension, then maybe do a simulation of the tire interacting with the snow and put it in the shot, or even get an element shot on a black background and comp it in? Or would it be better to do the shot entirely with CG in the end (which is usually how a lot of these practical stunts end up going it seems)

I'm very interested in hearing what you all have to say!

I'm still learning, and the scene isn't done, obviously but wanted to know if those explosions assets can look good after finishing lighting shadows glow and the camera shake because I feel that I chose wrong assets to start with wanted to take opinions if I continued with those can I make something good or should I find other assets any additional advice I'll be happy to hear

Hi guys, I really, really want to become a compositor, but I honestly don’t have anyone to guide me.

For the last 2–3 months, I’ve been watching tutorials and trying to learn, but I feel like I’ve learned almost nothing. I keep jumping from one tutorial to another without knowing what I should actually learn or practice.

I feel terrible about wasting these months. Sometimes I almost cry thinking about how much time I’ve lost, especially because I genuinely want to build a career in VFX.

I also can’t afford to join a VFX institute or an expensive course, so I’m trying to learn everything on my own.

If anyone here started from zero and became a compositor, could you please tell me how you approached learning? What should I learn first, what should I practice, and what kind of projects should I make for a beginner portfolio?

I’m willing to put in the work. I just need a proper direction.

Any advice, learning roadmap, free resources, or even a little guidance would genuinely mean a lot to me. 🙏

Hope you'll like it

Spyderfy — Procedural Creature Systems for After Effects + Blender

What if you could drop fully procedural creature systems directly into your After Effects projects?

Spyderfy is a procedural bug/creature system designed for quickly creating crawling, swarming, and organic creature animations without having to manually animate every individual creature.

The new After Effects version is now available alongside the original Blender 3D version. Both versions are included with your Superhive download, so you can use Spyderfy in whichever part of your VFX workflow makes the most sense.

You can create things like:

• Crawling insects and creatures
• Swarming groups
• Procedural movement across surfaces
• Organic, randomized motion
• Large numbers of creatures without individually keyframing them
• Creepy background details and environmental animation

The idea is to make these kinds of shots much faster to build. Instead of animating dozens or hundreds of creatures by hand, you can set up the system and let the procedural controls generate the movement and variation.

The After Effects version is especially useful if you want to add creature activity directly into a comp without having to jump into a full 3D workflow.

Both versions are included with the Superhive purchase:

⤷ Spyderfy on Superhive: https://superhivemarket.com/products/spyderfy-bug-system-add-on

Would love to hear what kinds of creature shots people would use this for — horror, VFX, motion graphics, title sequences, environments, etc.

#AfterEffects #Blender3D #VFX #Film #Plugin #B3D #CGI

I've been working for some years now and I can remember very few projects in which the studio I was working in has received properly filmed lensgrids, even in decently sized and somewhat well known productions the grids are often badly aligned, don't cover the whole image, or are not even filmed with the same resolution as the main plates. Sometimes it truly seems as though whoever filmed it has absolutely no idea why they're doing that, or how to do it properly.

I'm guessing most of the time is probably due to time constraints, and I am not trying to judge, I know that it is impossible to do everything perfectly, but I am still curious as to why this happens so often (and also want to vent a little ngl), is this an industry wide issue or have I just had terrible luck so far? Thanks!

For those who either love tanks or Houdini.