Featured Playlists
5_Saucer/UFO Project
We often suspend our disbelief when watching science-fiction movies. We know that flying saucers don't exist (or do they?) but filmmakers have honed the art of creating fantastic stories supported by believable effects, allowing us to be immersed in the moment. We want to believe...
From the elaborate miniatures were created for Star Wars, Close Encounters, Star Trek and the first Battlestar Galactica series in the 1970's by pioneers John Dykstra and Douglas Trumbull, to the completely digital environments made for Independence Day, The Matrix, The Day the Earth Stood Still and Stargate SG-1, VFX artists are challenged to continually raise the bar on detail, integration and believability.
In shots where the actors are in the scene, seamless blending becomes paramount. In the UFO student project at Lost Boys Learning on Vancouver Island, there is an emphasis on photo-realistic integration of elements such as foreground objects (trees, architectural structures, people, etc.), shadows, reflections and interactive light. Students are encouraged to consider a more subtle portrayal of the UFO to rely more on integration and interaction, and to a imply partially concealed presence.
In the first week, sequences are designed, locations scouted, actors and costumes prepped, lighting organized and crews assembled. In the following 4 weeks, ships are modeled, textured, animated, and lit, and effects are composited, resulting in an industry relevant sequence for the student's demo reel.
4_Product Shot
At Lost Boys Learning, one of our demo reel projects is to create a photo realistic brand-name object for a simulated TV commercial product shot. Students have created shots for Lipton, Corona, McDonald's, Chanel, Sun-Rype, Nestle, Advil, Molson, Starbucks and more, developing photo realistic texture mapping, lighting and rendering skills. Typically these shots are 5-7 seconds in which the product must be cleanly established and have suitable text or logo overlays displayed before the commercial ends. Simulating the fast-paced scheduling involved in commercial production, our students have two weeks to take their projects from concept to completion.
Class 3
Graduation - Summer 2008
Jennie Bates, Hsuanyi Fang, Andy Chen, George Kyparissous, Drew Current, Nick Knudson and Perry Sohn
7_Insect Project
For our seventh project at Lost Boys Learning we create a photorealistic insect. This is our longest project yet coming in at a total of eight weeks from concept to completion. We utilize Autodesk's Maya and The Foundry's Nuke to breath life into our first creature.
One rule of keeping a production on budget/schedule is to avoid sequences requiring small children or animals an unruly insect falls into this category and commonly Directors and Producers will call upon the talents of the visual effects team to construct a digital rendition to take its place. In this project we take our new skills to a higher level and create a photorealistic insect. After creating the insect asset you will animate a believable natural set of motions and then integrate it into a live action or simulated live action shot.
6_Still Life - Weathered Objects
Our 6th project at Lost Boys Learning is designed to further resolve our students ability to replicate fine details and accuracies. In production we are commonly required to work from existing live action props or detailed art department spec sheets. We are expected to quickly and efficiently produce a 3D asset with a minimum of deviations from the original object. This project puts an emphasis on weathered textures coupled with creating photorealistic shaders and lighting. As a bonus challenge our students may utilize their object within a higher level telekinesis VFX sequence.
Averaging one day per week, our students juggle this project along with the more complex Insect project over a period of 8 weeks in total.
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