The video, set in a fantastic illustrated world, portrays the epic journey of a heartbroken man rambling across a unique and beautifullly stylized landscape – a subtle blend of Pop Surrealism and Victorian/Steampunk aesthetic.

Artist: Ravonettes
Studio: Blind
Director: Chris Do.
Client: Vice Records/The Orchard.
Weapons of choice: Illustrator, Photoshop, After Effects, Maya, 3DS Max, C4d

Found through: Alba’s Twitter feed

Music Video // Heart of Stone is a post from: Ash Digital

Directed by Alex Roman. CG |Modelling – Texturing – Illumination – Rendering| Alex Roman.
|Postproduction & Editing| Alex Roman.
Music by Jennifer Athena Galatis.

A FULL-CG animated piece that tries to illustrate architecture art across a photographic point of view where main subjects are already-built spaces. Sometimes in an abstract way. Sometimes surreal.

The Third & The Seventh by Alex Roman is a post from: Ash Digital

Update!

A link to this interview with Scott Patton was posted on the thread.

Scott Patton’s Amazing Avatar Digital Sculpts is a post from: Ash Digital

Almost everything was rendered through RenderMan, and since the scenes were during the day, with straight forward HDRI lighting. Each shot had thirty, forty or even more render passes. Nuke was used to composite. “We made extensive use of depth channels,” said Poe “and they also carried the world space and camera space coordinates of every pixel in the renderer in channels in the comps. We could easily figure out exactly where an object was in space so they could augment that element with a 2D element.”

Source: My RSS reader

VFX of 2012 – CGSociety is a post from: Ash Digital

(1977) The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago.

Making of the CG for Star Wars (Episode IV) is a post from: Ash Digital

In addition to applying the 3D VFX to the movie, Yeatman wanted to take it one step further. He requested that the 3D elements break through the masking, allowing the viewer to get a sense of how far objects were extending beyond the confines of the scene.

Found through: Alba’s Twitter feed

G-Force: The Men Behind The Guinea Pigs is a post from: Ash Digital

“We drew more on the work ILM had done on ‘Pirates of the Caribbean’ and ‘Iron Man’ than on ‘Terminator 3′,” he says. To make the CG animation effects appear grounded in reality, the film relied heavily on ILM’s iMoCap technology which was developed by John Knoll for Pirates.

Found through: My RSS Reader

Terminator Salvation – CGSociety is a post from: Ash Digital

Paul Kavanagh was ILM’s animation supervisor who, with his team, would often start with a black card that simply read “Enterprise enters frame and fires.” The movements in space of very large computer-generated ships needed to be carefully plotted so they maintained their sense of size and heft. “We were very careful about how fast a ship this large would move,” Earl says, “because as soon as you start doing a really grand camera move, if you move the ship too fast it just blows the scale.”

Found through: FXRant

‘STAR TREK’ RETURNS – Post Article is a post from: Ash Digital

Fine CG – Professional 3D Tutorials and Visual Effects Training is a post from: Ash Digital

CG Tutorial – entire book for free is a post from: Ash Digital