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1. Feather wind test

  • Published: 2012-11-24T18:04:52+00:00
  • Duration: 15
  • By Agustin Chapa

2. How to create wind blown feathers with Maya and XGen

How to create wind blown feathers with Maya and XGen

In this 3D Tip, Joe shows you how to create some amazing windblown feathers using Maya and XGen. Ruffle some feathers by watching this video and get ready to be blown away as Joe shows you how to: -- Create a circle nurbs -- Use a pose brush to position the fibres -- Add in a wind modifier If you love using Maya, why not check out our 3D Tip showing you how to create dynamic fur? https://vimeo.com/233965249 Become a superfan of YellowDog's 3D Tips and subscribe to our YouTube channel https://www.youtube.com/channel/UCzltCx-JIQ9U0MHo4uhybfg Visit our 3D Tips Blog - yellowdog.co/blog/?_sft_post_tag=3d-tip,3d-tips Check out our rendering page on the YellowDog website: yellowdog.co/rendering/ Find us on social facebook.com/yellowdogltd twitter.com/yellowdogltd https://www.linkedin.com/company/yellowdog-limited/ https://plus.google.com/115456943287422151946 Comment below with requests for future tips or let us know what you think of the way Joe has set up his feather in XGen. Thanks for watching - we appreciate your support!


3. The Wild Feathers-Hard Wind

  • Published: 2013-06-11T21:13:04+00:00
  • Duration: 214
  • By GUS BLACK
The Wild Feathers-Hard Wind

The Wild Feathers-Hard Wind Directed By GUS BLACK Filmed By GUS BLACK and CHRIS KLOSTERMAN Thanks to: Devin Sarno, Jeff Watson, Hannah Keefe, Chris Nagey, Mary Roth, Julie Muncy, and The Wild Feathers


4. Feather in the Wind - Live

  • Published: 2009-05-10T01:35:02+00:00
  • Duration: 259
  • By Susie

5. Feather grass wind animation test 1

Feather grass wind animation test 1

Feather grass wind animation test in 3ds max & GrowFX


6. The Me Bird

  • Published: 2013-02-28T17:45:55+00:00
  • Duration: 144
  • By 18bis
The Me Bird

The short film "The Me Bird" is a free interpretation of the homonym poem by Pablo Neruda. The inspiration in the strata stencil technique helps conceptualize the repetition of layers as the past of our movements and actions. The frames depicted as jail and the past as a burden serve as the background for the story of a ballerina on a journey towards freedom. A diversified artistic experimentation recreates the tempest that connects bird and dancer. www.18bis.tv www.facebook.com/18bis www.behance.net/18bis Watch the making of: www.vimeo.com/60860949 Animation: 18bis Art Direction: 18bis Music: Conrado Kempers, Pedro Carneiro Ballerina: Ana Luísa Azêdo I am the Pablo Bird, bird of a single feather, a flier in the clear shadow and obscure clarity, my wings are unseen, my ears resound when I walk among the trees or beneath the tombstones like an unlucky umbrella or a naked sword, stretched like a bow or round like a grape, I fly on and on not knowing, wounded in the dark night, who is waiting for me, who does not want my song, who desires my death, who will not know I'm arriving and will not come to subdue me, to bleed me, to twist me, or to kiss my clothes, torn by the shrieking wind. That's why I come and go, fly and don't fly but sing: I am the furious bird of the calm storm. – Pablo Neruda


7. TOOLS

  • Published: 2012-09-15T20:33:47+00:00
  • Duration: 275
  • By clovis gay
TOOLS

See also my rigging Reel : https://vimeo.com/49518072 BREAKDOWN : 00:08 - 00:57 : Character Loader: multiple combinations, can load multiple characters in a scene. 00:58 - 01:37 : Feather Rigger : - Feather Scale by Vertex Color + Size rotation random variation. - Repartition on vertex Selection. - Cage Modeling for Feather Scale and orientation. - Local Controllers for Feather Scale & Rotation animation + random and turbulence animation. - Wind and Gravity dynamics. - Feathers follow mesh deformations. 01:38 - 02:19 : Radius influence : - Transforms and opacity controlled by Controller Distance and Radius. - Speed, angle, position and scale variations + random values. 02:20 - 02:39 : Pose Saver : - Save and Reload multiple objects transforms with snapshots. - Direct pose load. - Save to external file. 02:40 - 02:54 : Face Autorig : - Surface detection for points placement. - Mirror points - Auto Rig Creation. 02:55 - 03:05 : Face Autorig - Mocap : Personal Mocap tools and workflow based on 2D tracking. 03:06 - 03:32 : Eye Autorig : - Used on the face rig on my Rigging demoreel. - Eyelids controlled by Eye rotation with variable influence + manual control. - Position, Rotation and Scale can be animated. 03:33 - 03:51 : Over Morpher : - Custom Morpher over Animation. - Random Poses Mixer on each mesh and random on selection. 03:51 - 04:27 : XSI ICE Fstretch : - Custom Compound - Vertex tension and Compression detection. - Volume preservation. - Tension ad compression shapes mixed.


8. CVFX Feather System - pt1

CVFX Feather System -  pt1

Feather system prototype (currently being developed tor an upcoming job.) Some ideas gathered from Jonah Friedman's "Ruffle" system. (https://vimeo.com/27391000) it still lacks many guide feather controls (falloff effect for example), but overall it's been put to good use. Features: - automated creation steps through scripting - easy tweaking via tangents (main flow) + guide feathers. - interpolation of rotation, size, scale and bend between guides. - even distribution (particle relaxation) - density compensation for small feather areas - support for envelope deformations (styling/animate modes) via auto caching. - feather simulation (forces: spring, drag, grooming, wind, turbulence) - feather-emitter collision detection - post animation/sim controls. (frizz, color, size...) - quantization of interpolated values (memory saving for the render stage)


9. orzel

  • Published: 2013-06-15T11:34:53+00:00
  • Duration: 9
  • By Michal Zabek
orzel

Rigging and animation of this eagle is done in 3dsmax to History of Cieszyn 3D for Virtual Magic. I spend a lot of time to create rig for the eagle, feather are have own bone to simulate wind noise, also i can bend some group of feathers and of course there is standard transformation the wings in the rig.


10. Made in Mexico City

Made in Mexico City

There are few places in the world as unique, vibrant and colourful as Mexico City. For us, it's a city we could never get bored of and hope we’ve inspired you to visit one day. Filmed and Edited by: Feather and the Wind Shot on: Lumix GH5 Mavic Pro 2


11. cmiVFX Cinema 4D Advanced Feather Systems

  • Published: 2016-04-14T21:49:08+00:00
  • Duration: 70
  • By cmiVFX
cmiVFX Cinema 4D Advanced Feather Systems

cmiVFX Releases Advanced Feathers Systems For Cinema 4D High Definition Training Videos for the Visual Effects Industry Princeton, NJ (April 14th, 2016) Exciting last minute video release by cmiVFX just in time for NAB! The long awaited Advanced Feather Systems video is now available and will not disappoint! Take control over exact feather placements on wings and body, multiple lengths and directions, dynamic controls and geometrical substitutions for non-hair based mechanical wings. This might be one of the most entertaining videos on the subject ever made. Fast paced, yet extremely thorough. You will be a feather expert immediately after watching this video. Why wait for all your peers to excel past you in general CG knowledge when it has never been so easy to learn? When it comes to high end visual effect training, there is only one choice, cmiVFX.com. Short Description Control feather dynamics and design in C4D. Vimeo Teaser Trailer https://vimeo.com/162899834 cmiVFX Releases “Cinema 4D Advanced Feather Systems” Video https://cmivfx.com/store/671-Cinema+4D+Advanced+Feather+Systems Chapter Descriptions Introduction Some of you may have seen the hair video for Cinema already, which would certainly give you some insight to what we are going to cover next which is Advanced Feather systems for Cinema 4D. In this video, we will cover all your basics by default and include information you simply can not find online. Learn how to actually control feathers in a way that is useful for character animation, and how to properly simulate dynamic controls as well as geometrical substitution for things like metal feather plates with all the added benefits of Cinema’s dynamic control system. This will definitely be a favorite video amongst the character designers and riggers. Project Start - Feather Design And Placement Probably one of the most anticipated bit of information lye in the very first chapter. Learn how to use custom light weight geometry to control hair and feather placement for the ultimate look! It’s so cool, you will be saying ah-hah in the first few minutes. Body Feathers - Custom Look There are more ways to skin a cat, and just as many ways to feather a bird. Depending on the look you want to achieve, you will want to know the various techniques for controlling the look of your grouped feathers. In this chapter, we will make our focused area look disheveled or disturbed. Layering - The Clean Look So now you know how to make your bird look like it was attacked by a house cat, now you want to control tight, inline body feathers using the custom cmiVFX layering technique. This part of the video will allow you to get that staggered scaled look in your feather design. Dynamics If you haven’t used Cinema’s dynamic system, your in for a treat. Highly interactive, extremely fast and quite enjoyable to use. There are several aspects to dynamics which could effect feathers such as wind and rigid body interaction. You will learn them all. Rigging When it comes to character design, fore thought must be taken in order to plan for proper movement during final animation. It does not matter how you need to rig your creations, so we show simple deformers on the source geometry to invoke possible movement in a birds wing. With added dynamics, you got your self a real winning combination. Geometrical Replacement So what happens if you do not want to render hair based feathers and shaders on your winged creations? What if you need to make a rig similar to a winged Avenger? Not a problem. In this final part of the video, you will learn how to use replacement geometry in any location you want and still allow for rigid dynamics to be applied to it with the maximum speed. (Modeled geometry should have enough resolution for collisions) About The Instructor Chris Maynard, award winning, international software GUI designer and the owner, Chief Public Partner, as well as Head Researcher of the profit-sharing organization known as cmiVFX.com. Project Contents All cmiVFX videos come with all the training materials you can need right from our website. No matter what time of day, your location, or how you're feeling, cmiVFX will be there waiting for you! This video is available today at the cmiVFX Store: www.cmivfx.com About cmiVFX cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for free and receive hours of free content at the cmiVFX Video-on-Demand Player. Copyright 2016 cmiVFX | cmiStudios. All rights reserved KEYWORDS cmiVFX, Maxon, Cinema 4D, C4D, Cinema4D, Feathers, Hair, Dynamics, Rachis


12. Prairie Wind | 16K HDR

  • Published: 2018-11-03T16:32:11+00:00
  • Duration: 246
  • By Martin Lisius
Prairie Wind | 16K HDR

Winner - Los Angeles Independent Film Festival, Best Experimental/Travel/Time-Lapse Short, 2019 Woodbury Film Festival Official Selection - 2019 Americana Film Fest, 2019 Utah Film Festival - Best Cinematography, Northeast Mountain Film Festival 2019 "Through these amazing Great Plains storms, we are able to see nature in its pristine form, untouched by man. It offers us a glimpse of nature as it once was, and inspires us to protect and preserve what remains". - Martin Lisius, Director, "Prairie Wind" Imagine standing on a grassy hill overlooking the prairie in western Nebraska. It’s early summer and you are surrounded by yellow fields of Goldenrod, and whipped by a warm wind from the east. A storm approaches from the west. It’s getting bigger and darker. Soon, the sky above you is filled with swirling black clouds and you are lifted upward, light as a feather, tossed by the storm. I’m fortunate to have grown up on the Great Plains of America where I can touch the sky often. A storm there can transform you. It’s a conduit to God, an interaction with Wakinyan, the Lakota thunder spirit. While you are part of the storm, the bonds of earth are lifted, and you are free. Finding new ways to convey this experience to others is important to me. In early 2018, I embarked on a mission to capture storms on the highest resolution motion picture format I could reasonably acquire, which for me was 16K (15,985 x 5792 pixels). It didn’t actually exist, so I had to create it. After much testing, I decided on using two 50MP cameras fixed to a custom-made mount. When you watch this film, you are actually watching two carefully stitched images. If you swear it’s just one image, then I have succeeded. The score is by Benjamin Botkin. www.benbotkin.com Tricia Brioux performs the voice of Mother Nature. www.triciasvoice.com The words are by the naturalist John Muir, https://en.wikipedia.org/wiki/John_Muir A portion of the film’s 16K footage can be licensed exclusively through StormStock, www.stormstock.com If you love amazing storms, book a storm chasing expedition with my company Tempest Tours, www.tempesttours.com Martin Lisius Director/DP www.prairiepictures.com www.facebook.com/prairiewind16K Format: 16K (15,985 x 5792) 2.76 “Panavision 70” utilizing two 50MP DSLR cameras. On-line: 8K UHD 2.39 (7680 x 3213) Rec. 2020. See the raw footage at https://vimeo.com/306227036 Director’s notes: Shooting “Prairie Wind” required 4 months shooting 16K, and 3 months processing the clips. I drove 8,000 miles across six Great Plains states from March through July, 2018. Most were 16 hour work days. The project was time consuming with a cumbersome workflow. It required lots of hands-on, and many hours of computer processing. There are approximately 6100 stitched 16K images in the finished film. Only prime lenses were utilized, so the zooms you see are all digital. Each shot required two days to stitch, color, and render, if there were no alignment issues. Download and sample some of the 16K images used in “Prairie Wind” https://we.tl/t-lSKE8dVRP6 PRESS: http://www.studiodaily.com/2018/11/storm-chasing-dp-martin-lisius-shot-gorgeous-time-lapses-16k/ https://nofilmschool.com/First-16K-Short-Film Copyright Prairie Pictures, Inc.


13. Kur vėjas meta plunksną/ Where a Feather rides on the Wind

  • Published: 2010-10-19T21:42:44+00:00
  • Duration: 125
  • By aliora
Kur vėjas meta plunksną/ Where a Feather rides on the Wind

Filmuota Tatrų kalnuose. Filmed in the Tatra Mountains


14. Special Edition #ForgedByTheWind

Special Edition #ForgedByTheWind

On the one side are two friends with a genuine passion for motorbikes and design, who forged their identity and lifestyle among bolts to tighten, parts to weld, and rust to scrape off. On the other, is Colmar Originals’ experience and quality, which has established its name in the world of fashion with state-of-the-art garment and sophisticated style, made with technical fabrics produced by the company’s know-how. Alongside the Phonz and San Marco duo, the producers of the special Anvil bikes, Colmar Originals knows how to take elements – whether fabric or metal, feather or rivets, water or mud – and mould matter. This union has led to a partnership with an aggressive spirit we propose in a total black Colmar Originals log is black too: three men’s jackets, three women’ jackets, and a series of fleece sweaters and t-shirts with a strong identity. The metamorphosis is complete only at the end: in speed, in the air on the road, and in the penetrating wind that takes your breath away. For this reason, we love our FORGED BY THE WIND creations.


15. HYDRAMAX Model

  • Published: 2013-03-05T23:24:37+00:00
  • Duration: 101
  • By FUTUREFORMS
HYDRAMAX Model

Design: Jason Kelly Johnson & Nataly Gattegno Project Manager: Ripon DeLeon; Project Interns: Gavin Johns, Cameron Eng Collaborative Sponsor: MIGA Motor Company (Dr. Mark Gummin) Interactive Model Description: A network of infrared proximity sensors has been integrated into the four sides of the physical model. These sensors record the distance of gallery visitors to its edges. Information from these sensors is used to actuate the white feather-like “fog harvesting robots” and control the brightness of embedded LEDS. This model is an example of what Future Cities Labs call “live models”. Live models use the interaction of people to explore and simulate the potential effects of environmental forces such as fog, wind and sunlight. Model Materials and Electronics: Cast and thermoformed acrylic, custom printed circuit boards - layout in Fritzing and manufactured by PCB-Pool, Arduino "Mega" microcontrollers, infrared sensors, shape memory alloy motors (Courtesy of Miga Motor Company), interactive prototyping using Firefly and Grasshopper. Music: Space Rhythm 1 by Secret Circuit (http://freemusicarchive.org/music/Secret_Circuit/Bonus_Beat_Blast_2011/65_secret_circuit-space_rhythm_1)


16. Climate Clock App - Minimal Hourly Weather Forecast

  • Published: 2013-02-20T21:28:18+00:00
  • Duration: 42
  • By Benjamin Wong
Climate Clock App - Minimal Hourly Weather Forecast

www.climateclockapp.com Streamline your life with the beautifully simple Climate Clock. Get hourly temperature, rain, and wind quickly in a glance. It's everything you need in a weather app without the typical clutter. Get the current outside temperature without even opening the app! Climate Clock cleverly shows the current temperature as your app icon's badge. Looks are nothing without data. Climate Clock uses world-class Best Forecast™ by Weather Underground. Upgrade your iPhone/iPod's weather to 2013. Welcome to Climate Clock. What users like you are saying: "This is the best weather app I've purchased. Deleted the rest really quickly after using this. Top drawer!" "I just love looking at Climate Clock when I wake up. It gives me my time and hourly forecast without all the information overload. And the backgrounds are gorgeous." "The obvious choice - perfect if you've had enough of the visual clutter and information overload of other weather apps out there. All you really need!" "Finally - something easy with a sleek look." "Super clean, super fun. Easy to navigate. I'll probably be checking the weather 5 times per day!" "It's easily become my preferred weather app." Try out Climate Clock and tell us what you think. We'd love to hear from you. More Notes: * Gestural swipe up for 10 day forecast * Swipe left for locations and settings * Up to 8 locations or cities/world times * Dozens of hand-designed backgrounds that become dark or light and change with the weather, time of day, and during sunset & sunrise * Precipitation (rain or snow) percentage with just a tap * Current temperature on your home screen with your app icon's badge * Fahrenheit or Celsius * Stunning, premium design with simplicity * Optimized for iPhone 5, 4, and 4S (Retina Displays) Song: Passenger-Feather on the Clyde-Stefan Biniak Private Edit


17. Lightness Of Being - Lucio Antonucci

Lightness Of Being - Lucio Antonucci

Let the wind carries you, feel the air below your feet. Light as a feather, free as a bird. Produced, Directed and Edited by: Fzero Photographers Original music: "Cloe" by Fabrizio Mocata Model: Claudia Brunori Hair: Fabio for Wave Beauty Orange


18. HYDRAMAX Port Machines

  • Published: 2012-03-27T23:32:15+00:00
  • Duration: 423
  • By FUTUREFORMS
HYDRAMAX Port Machines

A short documentary film focused on the design of the HYDRAMAX Port Machines project exhibited as a part of the "Utopian Impulse" show at SFMOMA from 31 March - 29 July, 2012. Directed and produced by Eddie Lee (http://www.square2.com) Future Cities Lab - Jason Kelly Johnson & Nataly Gattegno (https://www.futureforms.us) FUTUREFORMS’s HYDRAMAX Port Machines project proposes a radical rethinking of San Francisco’s urban waterfront post sea-level rise. The proposal renders the existing hard edges of the waterfront as new “soft systems” that would include aquatic parks, community gardens, wildlife refuges and aquaponic farms. A synthetic architecture is introduced that blurs the distinction between building, landscape, infrastructure and machine. Using thousands of sensors and motorized components, the massive urban scale robotic structure harvests rainwater and fog, while modulating air flow, solar exposure and intelligent building systems. Design: Jason Kelly Johnson & Nataly Gattegno Team: Ripon DeLeon, Cameron Eng, Gavin Johns Fabrication: FUTUREFORMS Collaborative Sponsor: MIGA Motor Company Interactive Model Description A network of infrared proximity sensors has been integrated into the four sides of the physical model. These sensors record the distance of gallery visitors to its edges. Information from these sensors is used to actuate the white feather-like “fog harvesting robots” and control the brightness of embedded LEDS. This model is an example of what Future Cities Labs call “live models”. Live models use the interaction of people to explore and simulate the potential effects of environmental forces such as fog, wind and sunlight. Model Materials: Cast and thermoformed acrylic, custom printed circuit boards, Arduino based microcontrollers, infrared sensors, shape memory alloy motors (Courtesy of Miga Motor Company).


19. In Brønnøysund with the southbound coastal express MS Richard With in October (Enhanced)

  • Published: 2015-09-05T21:39:34+00:00
  • Duration: 284
  • By Tbfxtcxzo
In Brønnøysund with the southbound coastal express MS Richard With in October (Enhanced)

In Brønnøysund with the southbound coastal express MS Richard With. While walking the harbor area the Coast Guard ship KV Heimdal entered the scene after passing beneath a bridge slowly maneuvering passing MS Richard With and continuing further. Some wind on the camera sometimes but else rather fine weather. October 13 2014. FDR-AX100 E. Music: Blue Feather by Kevin MacLeod (http://incompetech.com) About Brønnøysund en.wikipedia.org/wiki/Br%C3%B8nn%C3%B8ysund. https://en.wikipedia.org/wiki/Norwegian_Coast_Guard https://en.wikipedia.org/wiki/Nornen-class_patrol_vessel


20. Fornasetti's Home by Virgilio Villoresi

Fornasetti's Home by Virgilio Villoresi

A Stop Motion movie by Virgilio Villoresi. Late XIX century, Città Studi neighborhood. Milan is still a small center surrounded by countryside. Here is where a typewriter’s merchant chooses to build his family house: a sober and regular parallelepiped. Back then, he was yet to know that few decades later that parallelepiped-house would become a magical box. In this house his son, Piero Fornasetti, grows up. He loves to play and lose himself inside the labyrinth of corridors and rooms, running up and down the stairs. He spends his afternoons drawing, icking through magazines and collecting image cuttings. He is a very young man when he has the intuition to convert these walls into his extraordinary workshop. They say that when entering the house today, it feels like embarking on a time machine. Room after room you run into antique furniture, paintings and prints, collections of coloured glass, small sculptures or books with engraved covers. Barnaba, Piero’s son, has embraced this heritage and enhanced it, collecting all the most iconic Fornasetti inspirations. Behind every door, hides a different world. There is the bedroom where the sky is blue and the wind blows the clouds away, the mirrors room is where prospective multiplies, challenging even the more rational of minds. If you get distracted, you might suddenly nd yourself in Jerusalem... Barnaba has opened the door of the Fornasetti House to director Virgilio Villoresi, who told its story in a video using his whimsical stop-motion technique. You peep through the keyhole and the magical box opens. Free from gravity, different objects dance around to the music, specially composed by Cesare Picco. As in a Surrealist show, butter ies wake up and y away chased by a frightful carpet beater, mirrors tip over and the world seems upside- down, a red feather twirls on the writing desk... Welcome to the world of imagination. A Moviechrome Production Agency: POMO Directed by Virgilio Villoresi Music by Cesare Picco Cinematographer: Antonio Managò Set designer: Micol De Palma Editing: Virgilio Villoresi Post production: Filippo Morini & Katia Rado Executive Producer: Edoardo Mari & Andrea Montanelli Line Producer: Sawa Colli Animators: Anna Ciammitti & Virgilio Villoresi Camera assistant: Gabriele Gregorig Gaffer: Giovanni Freri