Minor update to the intuitive tracking and head reconstruction plugins adds support for Blender 4.5 and Nuke 16.0. See all of the changes.

He reportedly shouted something about launching nukes into space The post The Internet Reacts To President Trump Wandering Around On The White House Roof appeared first on Kotaku.

I was recently playing Star Wars Battlefront as it recently gained popularity again, so I decided to make a fan trailer! Hopefully we'll see Star Wars Battlefront 3 in the future! This trailer was inspired by the loading screen of Battlefront 2. This was created using Blender + Nuke together. Song credit to Sam Kim and Lucasfilm. This video is not linked to Electronic Arts, Lucasfilm, or related to Battlefront in any official capacity. -------------- Haven't learned Nuke yet and you want to make your shots look feature film level? Learn Here with our Nuke Fundamentals Series 👉 https://www.compositingacademy.com/nuke-compositing-career-starter-bundle Want the VFX Assets or plugins featured in our videos? (Smoke, Lens Dirt, etc!): Check it out here:👉 https://www.compositingacademy.com/vfxassets

Blender and Nuke, why Lighting and Compositing is so important! This is part of a Star Wars Battlefront 3 cinematic I made.

Saturday, June 14th, 2025 Posted by Jim Thacker Tutorial: Practical Lighting for Production html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Gnomon Workshop has released Practical Lighting for Production, a guide to VFX and cinematics workflows recorded by former Blizzard lighting lead Graham Cunningham. The intermediate-level workshop provides four hours of training in Maya, Arnold and Nuke. Discover professional workflows for lighting a CG shot to match a movie reference In the workshop, Cunningham sets out the complete process of lighting and compositing a shot to match a movie reference, using industry-standard software. He begins by setting up a basic look development light rig in Maya, importing a 3D character, assigning materials and shading components, and creating a turntable setup. Next, he creates a shot camera and set dresses the environment using kitbash assets. Cunningham also discusses strategies for lighting a character, including how to use dome lights and area lights to provide key, fill and rim lighting, and how to use HDRI maps. From there, he moves to rendering using Arnold, discussing render settings, depth of field, and how to create render passes. Cunningham then assembles the render passes in Nuke, splits out the light AOVs, and sets out how to adjust light colors and intensities. He also reveals how to add atmosphere, how to use cryptomattes to fine tune the results, how to add post effects, and how to apply a final color grade to match a chosen movie reference. As well as the tutorial videos, viewers of the workshop can download one of Cunningham’s Maya files. The workshop uses 3D Scan Store’s commercial Female Explorer Game Character, and KitBash3D’s Wreckage Kit, plus assets from KitBash3D’s Cargo. About the artist Graham Cunningham is a Senior Lighting, Compositing and Lookdev Artist, beginning his career as a generalist working in VFX for film and TV before moving to Blizzard Entertainment. At Blizzard, he contributed to cinematics for Diablo IV, Diablo Immortal, Starcraft II, Heroes of the Storm, World of Warcraft, Overwatch, and Overwatch 2, many of them as a lead lighting artist. Pricing and availability Practical Lighting for Production is available via a subscription to The Gnomon Workshop, which provides access to over 300 tutorials. Subscriptions cost $57/month or $519/year. Free trials are available. Read more about Practical Lighting for Production on The Gnomon Workshop’s website Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. Full disclosure: CG Channel is owned by Gnomon. Latest News DreamWorks Animation releases MoonRay 2.15 Check out the new features in the open-source release of DreamWorks Animation's production renderer. used on movies like The Wild Robot. Sunday, June 15th, 2025 Tutorial: Practical Lighting for Production Master professional CG lighting workflows with former Blizzard lighting lead Graham Cunningham's tutorial for The Gnomon Workshop. Saturday, June 14th, 2025 Boris FX releases Mocha Pro 2025.5 Planar tracking tool gets new AI face recognition system for automatically obscuring identities in footage. Check out its other new features. Friday, June 13th, 2025 Leopoly adds voxel sculpting to Shapelab 2025 Summer 2025 update to the VR modeling app expands the new voxel engine for blocking out 3D forms. See the other new features. Friday, June 13th, 2025 iRender: the next-gen render farm for OctaneRender [Sponsored] Online render farm iRender explains why its powerful, affordable GPU rendering solutions are a must for OctaneRender users. Wednesday, June 11th, 2025 Master Architectural Design for Games using Blender & UE5 Discover how to create game environments grounded in architectural principles with The Gnomon Workshop's new tutorial. Monday, June 9th, 2025 More News Epic Games' free Live Link Face app is now available for Android Adobe launches Photoshop on Android and iPhone Sketchsoft releases Feather 1.3 Autodesk releases 3ds Max 2026.1 Autodesk adds AI animation tool MotionMaker to Maya 2026.1 You can now sell MetaHumans, or use them in Unity or Godot Epic Games to rebrand RealityCapture as RealityScan 2.0 Epic Games releases Unreal Engine 5.6 Pulze releases new network render manager RenderFlow 1.0 Xencelabs launches Pen Tablet Medium v2 Desktop edition of sculpting app Nomad enters free beta Boris FX releases Silhouette 2025 Older Posts

Houdini, Maya & Nuke Workflow with Josh HarrisonExplore the entire process of creating electricity and lightning visual effects using Houdini. Using a generalist approach, each chapter focuses on the essential stages of a complete, professional VFX workflow using Maya and Nuke in addition to Houdini. Artists will learn, step by step, how to integrate a custom character animation into a robust Houdini effects setup, covering everything from project organization to final-frame rendering.Beginning with asset prep and animation, Josh first covers how to prepare character models and animation for procedural import into Houdini. The first chapters also offer simple workarounds for rigging in Maya to provide more agency and flexibility to independent artist creators.Transitioning into Houdini, Josh then demonstrates how to set up materials and shaders in Mantra, Houdini's native render engine, to develop the scene further. From there, the workshop focuses primarily on generating lightning effects. After analyzing in-depth the fundamental concepts and approaches to creating electricity, Josh slowly explores more advanced techniques, instructing on how to make both secondary and tertiary elements, in order to add detail and complexity to a scene. He also discusses how to utilize particle and pyro simulations in order to generate dynamic electricity movement. After finalizing and finessing all the lightning elements, the final chapters guide artists in how to convert meshes into renderable light geometry, how to create custom AOVs in Mantra, and then how to use those render passes to create a professional composition in Nuke. Josh’s Anim.character.001.abc file is included as a downloadable project file with this workshop. The Mike Freeman rig by CG Truong and the Spartan Hoplite model by Ryan Reos are also featured in Josh’s workflow.WATCH NOW

For Season 3 of Amazon’s The Wheel of Time, Proof Inc. reimagined post-visualization, developing an innovative “Sketchvis” pipeline that blurred the boundaries between previs, postvis, and final VFX. Under Supervisor Steve Harrison, Proof created over 35 minutes of intricate, stylized visualizations across all eight episodes, establishing an expressive visual foundation for the series’ complex magical elements known as “channeling.” Proof’s Sketchvis combined 2D artistry with sophisticated 3D execution using Maya and Nuke, complemented by vibrant glows and intricate distortion effects. Each spell’s distinct energy was carefully choreographed, whether corkscrewing beams of power or serpentine streams of water, closely aligning with the narrative’s elemental logic and dramatically influencing the show’s pacing and visual storytelling. Working closely in daily collaboration with Production and VFX Supervisor Andy Scrase, the Proof team took on design challenges typically reserved for final VFX vendors like Framestore and DNEG. This proactive approach allowed Proof to define not only the aesthetic but also the motion logic of key magical sequences, creating a precise roadmap that remarkably mirrors what audiences will experience in the final episodes. For Proof, traditionally known for character animation and environmental previs, this venture into nuanced effect design and movement choreography represented both a creative challenge and a significant expansion of their artistic repertoire, adding to the visual texture of The Wheel of Time and pushing post-visualization into compelling new creative territory. The team contributed to all eight episodes with a core team of six artists. Proof’s ability to step beyond previs and postvis into effect design and movement development made them a key partner, enhancing in-camera performances and helping shape the visual language of the series.