Magic, the broom chase and the ghostly effects.Disney+ and Marvel Televisions Agatha All Along just wrapped up its first season. Below, Ive reproduced Digital Domains press release showcasing their VFX work on the show. It was led by Digital Domain visual effects Supervisor Michael Melchiorre, working with production VFX supe (and Digital Domain alum) Kelly Port. It also includes some before and after imagery.Magic EffectsBeginning with Lookdev in November 2022, Digital Domain was tasked with establishing distinct looks and colors for the magic of each witch: Agatha Harkness (purple), Teen (blue), Rio Vidal (green), Alice Wu-Gulliver (orange), Lilia Calderu (yellow), and Jennifer Kale (pink). Each effect had to be unique yet maintain a consistent feel, with each beam of magic requiring a specific origin and destination. Endeavoring to keep the effect grounded in the 2D world, the compositing team came up with an artistic and creative solution, and they were able to literally create magic in Nuke. The team augmented the beams generated in Nuke with tesla coil footage and other practical elements. This technique allowed for different variations and quick iterations. Occasionally, artists hand-animated bits of energy, drawing inspiration from classic films like Ghostbusters and Poltergeist to match the series authentic 2D, old-school vibe. In addition to the magic effects, Digital Domain also handled the witches desiccation effects, a task we were also responsible for on WandaVision. Traditionally, artists would have created CG digidoubles, but, in this instance, the time and cost would have been prohibitive for the high number of characters that needed to be desiccated. So, while the hero characters, like Agatha and Teen, utilized the same 3D approach seen in WandaVision, building full CG Digi doubles for approximately 12 other witches requiring desiccation was not feasible.For the non-hero characters, the team developed a hybrid approach. The CG team started by building one master desiccated head asset based on our internal genman/genwoman rigs. The compers then took these generic renders and UV-mapped them to fit the unique facial features of each actor or actress. This allowed for a quick turnaround time, seamlessly blending compositing techniques with 3D enhancements to achieve the desired result.Broom ChaseDrawing inspiration from Return of the Jedi and its speeder-bike chase, on-set production built an elaborate forest set. It used drones to capture 180-degree array footage that, when stitched together, could be used as backgrounds to insert our broomstick riding coven into. Each coven member was shot individually on a blue screen, suspended by harnesses. Once the compositing team extracted each character from the blue screen, the animation team stepped in to help fly the witches through our digitally created forest environment that matched the practical set. This helped ensure they were all traveling correctly in 3D space, keeping their scale and position consistent and, most of all, keeping a natural and realistic appearance. The comp team took this flight information from anim and reprojected each witch onto animated geometry, rephotographing them with the camera lens that matched the selected array background. The lighting team rendered full 3D versions of our forest assets that were used to extend and enhance specific areas of the practical photography. This resulted in seamless composites that were often constructed from as many as eight to ten individual plates. As they try to escape the forest road, the coven flies high above the treetops and across a blood moon. This scene initially began as a traditional painted backdrop on glass, a technique reminiscent of matte paintings used 40 years ago. Using this painting as our base, the team fleshed it out, adding extra details like distant stars and galaxies. Individual puppets dressed as each character were photographed on miniature brooms against a blue screen on set. To enhance the scene, we augmented each character to ensure their hair blew naturally and clothes moved properly. We hand-animated each character to fly smoothly in an arc across the moon, paying homage to E.T. Digital Domains previsualization team, led by Head of Visualization Matt McClurg, was particularly instrumental in planning and mapping out the complex Broom Chase sequence. On set, the production relied heavily on the previs created by McClurg and his team, using it as a key reference for camera angles and coverage within the technical confines of the shoot. This groundwork was invaluable for the Digital Domain artists during post-production, offering a blueprint for our VFX team on how the plates were intended to be assembled. Although the creative process evolved and adapted, the visualization provided vital touchstones that guided the VFX teams efforts. As the primary previs vendor, McClurg and his team delivered approximately 740 unique shots across 16 sequences, including the Morgue, the Castle, The Witches Road, and several others, significantly contributing to the series visual storytelling. View this post on InstagramA post shared by Ali Ahn (@aliahn)Agathas Death & GhostOne of the most challenging sequences was Agathas death. Digital Domains VFX work in these scenes required a delicate balance of beauty and darkness as Agatha sacrifices herself in a peaceful, somber moment. She is lifted by intertwining magic and gently placed on the ground, where she merges with the earth. The intent was to create a scene reminiscent of a nurse logsimultaneously beautiful and decaying. Although there was consideration of completing this sequence in 2D, most of the work was done in CG. As Agatha is gently laid to rest on the ground, her body withers and decays in a visually stunning manner, with grass, flowers, and mushrooms growing to envelop her. As the mushrooms mature and die, they are replaced by blooming roses and purple flowers, symbolizing the beauty that arises from her sacrifice. The environment team meticulously controlled every mushroom, flower, and blade of grass, while the effects team added subtle details such as falling pebbles and dirt being pushed aside as new flowers sprouted from the ground. A keen observer will notice that Agathas toes begin to curl as she withers away. A subtle nod to witches that have come before. In the following episode, Agatha is reborn as a ghost. The team drew inspiration from Ghostbusters, Poltergeist and other 80s ghost films to achieve the ethereal effect. Production was very specific about how ghostly she needed to appear and, most importantly, that we retain every subtlety of Kathryn Hahns wicked performance. We began by extracting Agatha from each background and reconstructing the room behind her. Through a series of keys and mattes of targeted densities, compositors slowly layered Agatha back into the plate, paying close attention to the density and transparency of her form. On-set production had fans blowing on Agatha to simulate a gentle, ethereal breeze. However, this was often blowing too fast for the gentle look we were after. To solve this piece of the puzzle, compositors strategically retimed and slowed down areas of her gown or hair that were moving too fast. Again being careful not to alter the performance or facial features. These areas were then reintegrated into Agathas ghostly form.The exceptional work of our roto/paint and lighting departments further elevated Digital Domains VFX excellence. Their meticulous attention to detail and expert craftsmanship provided the perfect finishing touches, ensuring that every frame was seamlessly integrated and visually stunning. This underscored the teams commitment to creating a captivating and immersive experience for viewers.The Digital Domain team also created the skeletal face for the villain reveal, Agathas mothers ghost, and more.Marvel Televisions Agatha All Along is available to stream today on Disney+.The post Delve into Digital Domains visual effects for Agatha All Along appeared first on befores & afters.

Its not long now until World VFX Day kicks off for 2024. This year its happening over two days6th December and 8th Decemberlive from Tokyo, right at the tail end of SIGGRAPH Asia.befores & afters will be there, and were very proud to be an event supporter in this incredible event championed by Hayley Miller.To find out more, or to get involved in sessions or as a sponsor, just head to https://worldvfxday.com/.The post World VFX Day 2024 is happening live from Tokyo appeared first on befores & afters.

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Mindwalk Studios is looking for a talented Animation Art Director! If you have a deep passion for 3D animation and art direction, join the Mindwalk Studios team to work on exciting game projects. Apply now on the 80.lv Job Board!#80LevelJobs #jobs #careers #JobOpening #JobOpportunity #CareerOpportunities #animationWe are looking for a person who is passionate about 3D animation, the big picture of art direction, and knows how to extrapolate on creative direction notes to keep asset production on look and cohesive. The candidate will be comfortable moving from style to style and identifying the key...

Rain Yan shared a step-by-step guide for creating atmospheric cinematic lighting in Unreal Engine 5, inspired by feudal Japanese architecture and the four seasons, along with his favorite plug-ins.Read the interview: https://80.lv/articles/the-changing-seasons-ue5-feudal-japan-cinematic-lighting-studies/

Political appointments may be a normal part of any presidential transition, but dont expect to hear that word too often as President-elect Donald Trump announces his picks for Cabinet positions and other key government roles this week.Since Monday, the announcements have been coming fast and furious from Trumps Truth Social account, and although some of his favored appointees have been on the conventional side, such as Senator Marco Rubio of Florida, whom Trump has chosen for secretary of state, others have beento put it bluntlyshocking. Trumps choice of Matt Gaetz, the controversial Republican representative from Florida, as attorney general has sparked concern even among fellow Republicans.Just eight days after Trumps victory over Vice President Kamala Harris in the 2024 election, its all a bit head-spinning, particularly for the millions of Americans who already suffered from news fatigue before the election. At the same time, many of us dont have the luxury of tuning it out, as the consequences of the next four years will have a direct impact on the lives of countless millions.If youre looking for an easy way to track Trumps cabinet picks and appointees as the announcements happen, weve rounded up a few resources below:New York Times: The paper of record is keeping a running list, complete with short bios, photos, and the status of the appointment. Find it here.Politico: The political-focused news outlet has a nice infographic that makes tracking the announcements easy. Find it here.Washington Post: The D.C. paper also has a nice tracker with a user-friendly visual layout. Find it here.CNN: The cable networks website is quick on the draw and appears to be updating its appointment tracker in real time. Find it here.

For nearly every highlight of Julie Croteaus trailblazing baseball careerall except her time as a double in A League of Their Own, reallyshe shared the field with men. Frequently, as teammates. Always as foes. Thats mostly how its been for generations of female players.So when she recently heard about plans to give todays players the chance to shine against other women in baseball, Croteau had one thought.Its about time, she said with a chuckle.The Womens Professional Baseball League (WPBL) announced plans last month to launch in 2026 as a six-team circuit for female players. If and when it debuts, it will be the first pro league for women since the All-American Girls Professional Baseball Leaguethe one immortalized in A League of Their Own dissolved in 1954.Heightened interest in womens sports in recent years made this an ideal time to launch a womens baseball league, said cofounder Justine Siegal, the first woman to coach for an MLB team with the Oakland Athletics in 2015.The consulting firm Deloitte estimated that womens sports will generate a billion dollars in global revenue in 2024 for the first time because of skyrocketing popularity and marketing deals. The WNBA had its most watched regular season in 24 years thanks largely to its star rookie class led by Caitlin Clark and Angel Reese. The inaugural season of the Professional Womens Hockey League brought in record crowds.Certainly were standing on the shoulders of the success of the other pro leagues, Siegal said.Siegal has sought advice from women leading other professional leagues and is studying what made them successful. That includes catering to the specific needs of female athleteswho often face a different set of responsibilities than their male counterparts.Siegal was the first woman to coach for a professional baseball team with the independent league Brockton Rox in 2009, and the first woman to throw batting practice to an MLB team with Cleveland during spring training in 2001.Back then, Siegal remembers scrambling to find babysitters for her daughter while she coached, and pulling her daughter out of school and bringing her along to the field in some cases.I had to do many things to make my dream come true, Siegal said. And so I am particularly keen on making sure that we dont overlook mothers who can compete and deserve a place in the league.When she was 13, a coach told Siegal she shouldnt play baseball because she was a girl. She was told to play softball, which is a reality many girls in the sport face.Around 1,300 high school girls played baseball on boys teams across the United States during the 2023-24 school year, according to a survey done by the National Federation of State High School Associations.When I see that number, I think that theres 1,300 people who had to sort of basically buck the system to keep playing the sport that they love, said Croteau, who made headlines in the 1980s by suing her high school for the right to play on the boys varsity team. She lost.Theyve had to stare down an athletic director or approach a baseball coach, and theyve had to make it happen.More than 471,000 high school boys played baseball, while 473,000 girls played baseball. The NCAA doesnt offer womens baseball, but nine women played on mens baseball teams in 2024, according to the NCAAs demographics database. Around 21,000 women played college softball.Keith Stein, a lawyer and businessman who cofounded the WPBL with Siegal, said the hope is to help establish a solid womens baseball culture in the U.S. to create more playing opportunities for girls in the future.Both Stein and Siegal pointed to early interest from womens baseball players as clues to the hunger for a venue for women to compete against women at the highest level. While there hasnt been a pro league for womens ballplayers, they still play. The Womens Baseball World Cup debuted in 2004 to showcase womens talent.More than 400 athletes registered to try out within 24 hours of the league launching its player portal, Siegal said.These were largely elite players, Stein added. Some of the best players in the worldfrom the United States, of course, but there were players from Japan, Canada, Great Britain.The league will hold a scouting camp in spring 2025, with a draft happening in the last quarter of the year. The WPBL will initially launch with six teams, though Stein estimated that number could later increase to eight. Theyll compete in the northeast in 2026 so that they can travel by bus to compete.While Stein expects the WPBL to become one of the major womens sports leagues in the near future, it wont get there without facing some of the same barriers as the womens leagues that preceded them.Women athletes have long fought to be paid as much as their male counterparts, perhaps most prominently displayed through the U.S. womens national soccer teams fight for equal pay that ended in the U.S. House passing an equal pay bill in 2022.We shouldnt gloss over a certain reality, Stein said. And that reality is that women baseball players, they probably are not being paid what they deserve.Stein said he believes compensation will be suitable for players hoping to participate in the league, including those who have to relocate from different countries or leave their current jobs.But it will pale compared to if youre thinking of what major league athletes in some of the other leagues are making, he added. Thats not whats in place right now.We will get there because of what we do. We will raise the bar for pro women baseball players. But it will be gradual over several years.Croteau, who isnt connected to the WPBL, praised the league for trying to bridge the gap that has existed since long before she and teammate Beanie Ketcham were believed to be the first women to play in an MLB affiliated minor league in the now defunct Hawaiian Winter League 30 years ago.The girls who are out there playing on their own, Croteau said, those 1,300 girls that were talking about now, who we knew were good enough because theyre making the team. We also know theyre strong willed. Theyre willing to buck the system and make it happen.This helps them get seen.Alanis Thames, Associated Press sports writer

Architecture firm Studio Gang has sought to "amplify social connections" at its first French project, the John W Boyer Center in Paris, a "vertical campus" created using mass timber for the University of Chicago.The academic structure in Paris's 13th arrondissement was designed by Studio Gang with a hybrid-timber-and-steel structure and a facade covered with over 900 cylindrical limestone-covered fibreglass "batons" that function as brise soleil.Sited on an ongoing development adjacent to a housing block by Parc Architectes, the John W Boyer Center was designed as a "vertical campus" to expand the University of Chicago's research capabilities into Europe.Studio Gang has completed a mass-timber research facility in Paris"The Center in Paris is designed as a vertical campus," said Studio Gang founding partner Jeanne Gang."Its multilevel atrium provides all the spaces with light and offers visual connections across programs," she continued."We wanted the building to amplify social interactions, scholarly collaborations, and cultural exchange between the University and the city of Paris."It is the studio's first project completed in FranceIn order to meet regulations put in place by Paris that require public buildings to utilise at least 50 per cent wood or other natural materials in construction, Studio Gang opted for a hybrid timber-and-steel structure.A concrete foundation and steel base supports a mass-timber grid. Cross-laminated timber decks are spread across steel trusses to create a structurally sound building that conforms to government requirements.It has a hybrid mass-timber-and-steel structure. Photo by Corentin LespagnolThe limestone of the facade was integrated in order to fulfil the natural material needs and visually link the building to the limestone facades of other Parisian buildings.All of the stone was sourced from quarries within 40 kilometres of the city, according to Studio Gang.A central atrium holds the centre of the program. Photo by Corentin Lespagnol"Each baton is enrobed in Lutetian limestone, a stone that underlies much of the Paris region and has been a common local building material since antiquity," said Studio Gang."Limestone links the building to the university's main campus in Chicago, where it is also a prominent building material, while simultaneously rooting it to the history of Paris."It holds classrooms, laboratories, meeting spaces and other facilities of the University of Chicago's operations in Paris. Photo by Corentin LespagnolThe building consists of two blocks, with the corner block rising higher and an atrium between the shorter and taller blocks.The building's entrance leads into a double-height lobby that connects to a shared courtyard garden at the centre of the block and to a five-storey atrium. This atrium serves as a stairwell to the whole structure and is topped by skylights angled to best take advantage of natural light.A sculptural staircase zigzags up through the atrium and classrooms and research areas were opened up to this circulation space through windows to take advantage of the light from the skylights.Skylights were placed above the atrium. Photo by Corentin LespagnolLibraries, classrooms, and research labs were placed throughout the program, which has floors of various heights on either side of the atrium, according to use.The rooftop holds a double-height events space that leads out into a "biodiverse" rooftop garden.In addition to the visual connection to Parisian infrastructure achieved through the limestone, the structure also connects structurally with the city as a whole, as it houses an underground connection to the Paris subway system.Read: Dezeen Debate features "possibly Studio Gang's best work"The studio also implemented photovoltaic panels on the rooftop to offset the building's energy usage."In alignment with the environmental standards of the City of Paris, the design minimizes the building's carbon footprint while optimizing its energy performance," said the studio.It sits above a regional train lineThe John W Boyer Center is the first French project for the studio after it opened its Paris offices in 2017. Its first European project was a pair of residential buildings completed in Amsterdam in 2022.Recently, Studio Gang completed another mass-timber structure embedded in a concrete podium for a university campus in California.The photography is by Fabrice Fouillet unless otherwise stated.Project credits:Design architects: Studio GangMass timber columns and beams: KLHCross-laminated timber panels: Weisrock Vosges SASMetal/glass curtain wall: HorizonsWood cladding: LignalpesStone screen facade: Polycor FranceWindows: WiconaGlazing: RIOU GlassPhotovoltaic system: Sunpower MaxeonConveyance: OtisThe post Studio Gang completes mass-timber academic building in Paris appeared first on Dezeen.