on October 10th, 2009, by ben
The purpose of this fire method is more of a companion effect in case a particular scene calls for so much fire that the volumetrics / simluation becomes route impractical to use on ‘absolutely‘ every part of the scene. The goal is to use volumetrics and simulation for the bulk of the fire where appropriate.
I was going to call this post ‘Flaming monkey mullets Batman!” seeing as most of my tests were setting the top of a Suzanne head on fire, (eg the first of these two videos ) but never got around to compositing the head back in.
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on October 9th, 2009, by nathan
I spent some of this week re-rigging my “Simple Biped Rig” in Blender 2.5. I did this to help verify that the basic rigging tools are now functioning in Blender 2.5.
Fortunately, they are!
Simple Biped for Blender 2.5 from Project Durian on Vimeo.
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on October 8th, 2009, by Colin Levy
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on October 8th, 2009, by nathan
Before I flew over to Amsterdam to start work on Durian, I traveled a bit to visit friends and family. While in California a friend of mine from college, Sean Kraft, and I made this short film:
Sean did all of the editing and effects work. I basically just acted stupid in front of the camera.
Enjoy!
—Nathan
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on October 6th, 2009, by Ton
Phew, second day of Durian already! Things are crazy fun and hectic here, we spend ages in meetings it seems.
To start with: check these cool pictures from Andy Goralczyk, he was in the studio here for a week course, and stayed a couple of days to welcome the Durian team and consult us a bit on various issues (4k render, epic shots, realistic human shading, …).
Andy’s flickr Durian Kick-off gallery
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on October 3rd, 2009, by Ton
Quick update: last thursday – October 1 – Lee and Soenke arrived in Amsterdam. Today Angela and Nathan dropped in. So I’ve been busy with getting them installed in their apartments and in Amsterdam a bit.
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on September 26th, 2009, by Ton
Colin, David and me still have this amazed feeling of what 4k can do for our film… the amount of detail you can (or have to!) put in every shot will give the visuals a very designated impact and especially… a 4-10 times multiplied amount of work! And not only the graphics require detail, but also animation can be refined into every tiny detail.
Look for example at Soenke’s famous “Reaching Out” picture. Something like this could be just a shot in our film, 4-6 seconds. Now what if every detail would move, imagine how cool that would be! Even when scaled down to 2k or even 1k you’ll notice this.
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