Images

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Promax Award for SporTV’s Olympics Games package

Last week Globosat Network was contemplated with an Promaxbda Global Excellence Award for it’s Olympics Games package, under the specialized category of Art Direction & Design: Special Event Campain (Olympics) for 2013.

This Award means a lot for the whole team, which worked united as ever to deliver the best broadcast graphics. Our team was in charge of the realtime graphics and virtuals, done in VizRT. Here’s a little snippet of how we’re happy ::

promax2013Olympics

Creative Manager :: Manuel Falcão
Designers :: André Calabria, Marcelo Penna, Gerson Amaral, Bruno Guerra, Eduardo Lima, Adolfo Fisher, Renan Araújo, Ed Schiffer, Ricardo Cortaz, Robledo Guerra
Creative Coords :: Stânio Soares, Eduardo Felipe
Production Coord :: Ricardo Leo
Production Asst :: Vanessa Forton
Sound Designers :: Eduardo Couto, Jonas Sá

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little Portuguese poetries

a little break from my CG posts, this weekend I took the time to take two poetries of mine as done. they are both in Portuguese ::
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Canto da Festa
seu olhar não saiu bem na foto
a boca ficou torta,
sua alma ficou fora de foco
gastou a maior parte do tempo
isolado no canto da festa,
consumindo como sua bebida
todo o futuro que lhe resta
seus gastos não condizem com sua condição
seus trajes não combinam com seu coração
era uma criança alegre, ativa, sem pudor
mas a vida lhe deixou de mau humor…
o que houve, meu bem?
ainda há como se achar no caminho!
cadê aquela coragem de quem fugiu do ninho,
para voar alto e além?
mas aqui, no canto da festa
pra se esconder finge coçar a testa
ergue o copo para não cair em lágrimas
embebido em si, inibido em lástimas
deixando vazar essa fria solidão
e o desconforto em sua própria pele
todos temos problemas e defeitos,
aceite quem é, sem vergonha, se revele
busque seu modelo, objetivo
encontre o enquadramento
projete sua luz e viva!
pois este é o momento
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Premultiplied vs Straight

As I was researching about the differences between these two color modes, I’ve noticed how many people have difficulty about it, most working with it everyday. So as a form of self study I made the following diagram.

{In a nut shell, when you have transparency in the Straight mode, only the alpha channel is affected, the RGB remains the same, pure; with Premultiplied, the RGB channels get multiplied by the background color, which most cases is black. The alpha channel of both are exactly the same.}

Click for a bigger version. Hope it helps ::

Lens Ambient Occlusion

Doing Ambient Occlusion in every material in a scene is normally not necessary. After reading this post in Caffeine Abuse I started using it as a Lens shader, but noticed the render got darker. It was because I’m using linear workflow in Softimage, so I had to update the compound a little bit:

download “ed_Lens_Ambient_Occlusion_AO” Compound

Compound parameters, Tree and with gamma 1.0 and 2.2 comparison

Just drag & drop the file into Render Tree, or move it to the Data/RTCompounds folder in your User or Workgroup directories. To apply it just connect it to the Camera as a Lens Shader.

Caffeine Abuse is an incredible place for Softimage tutorials, tips & tricks.  All credits of this shader are to it, I’ve just packed it up and added the gamma support. .

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Infinitum

Infinitum is the biggest and most personal project I’ve worked on. It started in 2005 at a College class with professor Claudia Bolshaw, at the Design Course of Pontifícia Universidade Católica [PUC] from Rio de Janeiro.

Me and  Gabriel Pires got together as a team to elaborate a 30 minute film to the city’s planetarium, which is beside the College. We tried different roles, characters and techniques, always in dialogue with the chief astronomer there. As a class final product, we had developed the script, characters designs, storyboard and the animatic of Infinitum.

The story is about four teenagers that sit in pairs at school to play an astronomical game called Infinitum. The objective is to be the first team to launch a discovering satellite into the black hole at the end of the board, and as they start to play, we enter their imagination as if they were really travelling Space…

At the time it was not of their interest to really produce the movie, but at the end of 2009 they called us back. We were already graduated for a year and I was leaving my job at Consequência animation studio, where I worked for 28 months.

We had to rewrite, redesign, animate and direct the role movie, which was probably the biggest challenge we ever faced at work, and we are very thankfully for Marcos Magalhães to let that happen.

The movie took the year 2010 to produce. Gabriel took care of the shading, lighting and rendering settings and I was in charge of all the rigging. As a planetarium movie, it’s full with astronomical knowledge, directed to the teenage public, and it was planned from beginning as a dome projection, with 2 videos running at once and slider projections filling 360º.