But, green screen is great tool, right? Not for one filmmaker.
Watch the story of why and how @MichaelPlescia tried to reinvent filmmaking, visual effects and co-found a company in order to make his feature film, The Mop Liberator, even a possibility. Continue reading
Nikola is Principal PD/PO based in Toronto, working with multiple teams and projects in Autodesk. He is responsible for Maya Color Management, Hypershade, Render Setup, directly working with Arnold Team and designing Maya future workflows like MaterialX – LookDevX and Procedural world building. He was previously working on various positions with smaller and large studios as Sony Imageworks and Framestore.
Yavor Stoykov is a 3D Artist with many years of experience in 3D modelling and visualization. Yavor joined the Chaos Group 3D team in 2010, after working for an architectural practice. Since then he has been one of the main driving forces behind the creation of the V-Ray Training Programs and all the companys arch-viz demos.
You were a representative of a Chaos Group at CGA in Belgrade. What are the impressions of the conference and can you tell us more about your presentation?
Feeling very happy to be in Belgrade. As a part of Chaos Group, I was honored to have the opportunity to be part and contribut to the CGA conference and share the latest V-Ray developments with the community.
In this session I summarized some of the most interesting examples, focusing on tips and optimal use cases of V-Ray’s 3.6 most advanced features between 3ds Max and Maya, GPU and hybrid rendering, cross-platform scene transfer, very convenient approaches to working with third-party assets, and touched on the optimal way of employing Chaos Group’s own simulator – Phoenix FD. The final touches were happen in the very potent ray-tracing addition to the compositors’ toolset – V-Ray for NUKE. All this – in the optimal render time, of course.