From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #10340 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, December 17 2022 Volume 14 : Number 10340 Today's Subjects: ----------------- Check out these super sheds ["Shed Plans Inside" Subject: Check out these super sheds Check out these super sheds http://backtolife.live/WwDX0_6cVOVsQMfKl-A-jp5Bk6zLf5X3kchR8jFWho9cG3eY0Q http://backtolife.live/UDsJiWF7QwiDkH7tEfSvKYs56wfcb7MrB3S4tygBElQvw187Kg sborne worked on the film's animated sequences with Nexus Studios, with assistance from visual effects companies Zoic Studios and Digital Frontier FX. Sallyanne Massimini served as the studios' visual effects supervisor. According to Osborne, Nexus was responsible for animating the "most magical, more surreal parts of the story", while the other studios worked on the more "grounded stuff". He added that around five or six people based in Los Angeles, London, and Sydney worked on the animation. Animating Eilish provided a "real challenge" for Osborne, who had 12 weeks to do the job. He had little time to capture her physical disposition for the "old-school" version of the rotoscope process, which he had to do before she embarked on the concert sequences. His solution was to put her in a motion capture suit, having previsualized how the scenes for the corresponding shoot would look, and render the resulting animation. To maintain the 1980s look, Osborne did rotoscoping on top of the motion capture animation. Osborne used the Blender program to edit the motion capture, of which there were around 90 minutes of footage. He and his team made simple storyboards for the animated sequenc ------------------------------ End of alt.music.moxy-fruvous digest V14 #10340 ***********************************************