Al Magnus is a brilliant digital manipulator. His creations are so fascinating, they just seem to keep drawing me in due to the peculiar stories they tell. His work some of the most well executed conceptual digital art I have ever seen. Al has been working with the digital medium for over 12 years now and I believe his work speaks for itself."I was ten when I first discovered photography and waseven then fascinated by the light that B & W prints suffused.
Gavin Hoey with AdoramaTV put together this simple yet informative video that includes beginner tips on techniques for bracketing your aperture, finding different materials for textures, and finally bringing it all together in Photoshop. Gavin shows how he works in Photoshop to transform images to make them fit your composites in a more pleasing way, and also uses blending modes and layers masks to make the textured vignettes fit his images.
To shrink the hobbits in "Lord of the Rings" was not a simple feat for Peter Jackson, it took a lot of set crafting and perspective tricks. Instead of going through those extra hoops for the recently released "The Hobbit," Peter and his team took a different composite approach to the process of resizing the actors. Our friends at Popular Mechanics detailed how the results were achieved.
More young people are getting into photography every single day. Luckly, not everyone with a phone and Instagram thinks they are photographers. Marcus Bitsch is one of those young kids who picked up a real camera and starting creating awesome images. From floating with bubble gum to being out in the middle of the ocean with nothing, he covers all sorts of locations in his current 365 project and he is doing very well with it.
I'm sure by now most of you have tried to attempt a composite. I know when I first started to piece them together I was left with what could only be described as a cheesy mess that should not even be called a photograph. There are so many intricate details that go into making a believable composite. Perspective, color matching, how good a selection you made,ect... all play a important role in having a finished product. After several failed attempts at composites I gave up. Then I came across this tutorial. It gave me hope that maybe I can make a believable composite.
The guys over PHLEARN have a lot of cool content, and this is their most recent. The original idea for this photo shoot was inspired by childhood, drawing on references from stories such as “Where the Wild Things Are” by Maurice Sendak and the classic comic strip “Calvin and Hobbes." The result is a playful look at the imagination of a child.
When I watched this video this morning from London-based film production company Make Productions my mind was blown, my jaw dropped and I just kept thinking about all the detailed work that went into creating such an amazing parallax sequence - all of which was executed perfectly. Take 90-seconds today and be sure to check this out then read on below to find out more details about how it was created.
With a well thought out idea and fantastic execution, Max Riche managed to win several awards with this photo series. The concept was to capture the progression of amateur's journey into professional athleticism in one photo. He was thoughtful enough to video several of his shoots and explain the process that led to these well recognized photos.
If you're a fan of the immortal and time-traveling Doctor Who, then this VFX breakdown might just be for you. The Mill, who works on the visual effects of BBC's Doctor Who, have been with the show since its re-imagining in 2005. Sit back and watch as they explain how they create their episode opening sequences, seamlessly incorporate map paintings with computer graphics and creature creation in this two part video series.
The people over ar Prime Focus World who are responsible for the special effects and/or 3D conversion of films like 'Total Recall', 'Harry Potter and the Deathly Hallows', 'Wrath of the Titans' and 'Tron', have made four videos in which Jon Thum, visual effect supervisor, sits and explains the filming process and post for the slow-motion sequences for the movie, 'Dredd 3D'.
Kevin Margo, a VFX/CG Supervisor at Blur Studios recently released his directoral debut with his short science fiction film titled 'Grounded'. The film, while the general audience may not fully appreciate it, will entice cinephiles with its stunning graphics and read between the lines themes. In the following video he breaks down the CGI that was used in the film. The film was shot with a Canon 5D Mark II and post processed using 3DS Max and Fume FX.
DesignWorks Media Group is made up of Mike Stog and Lee Barwick. The USA Olympic Boblsed/Skeleton team commissioned them to do a campaign which includes bobsledding fused with everyday activites, i.e. grocery shopping. Mike and Lee kept things pretty easy and minimal as far as lighting goes. They used a lot of the ambient, then supplemented for an extra kick where needed. Lighting diagram and final photo ad included after the jump. Enjoy!