#erik winquist | Explore Tumblr Posts and Blogs

thevibraniumveterans · 2 years

Text

MCU’S PHASE 4 WINNERS AT THE SATURN AWARDS 2022

Doctor Strange in the Multiverse of Madness

Best Superhero Film

Best Supporting Actor in a Film:Benedict Wong

Best Music in a Film:Danny Elfman

Best Film Visual / Special Effects:Janek Sirrs, Theo Bialek, Erik Winquist, Alexis Wajbrot, Olivier Dumont

Shang-Chi and the Legend of the Ten Rings

Best Actor in a Film:Simu Liu

Best Supporting Actress in a Film: Awkwafina

Best Film Producer Designer:Sue Chan

Best Music in a Film:Joel P. West

Best Film Costume:Kym Barrett

Best Film Visual / Special Effects:Christopher Townsend, Joe Farrell, Sean Noel Walker, Dan Oliver

Spider-Man: No Way Home

Best Actor in a Film Tom Holland

Best Actress in a Film:Zendaya

Best Supporting Actor in a Film:Alfred Molina

Best Supporting Actress in a Film: Marisa Tomei

Best Film Direction:Jon Watts

Best Film Writing:Chris McKenna, Erik Sommers

Best Film Editing:Jeffrey Ford, Leigh Folsom

Best Film Visual / Special Effects:Kelly Port, Chris Waegner, Scott Edelstein, Dan Sudick

Thor: Love and Thunder

Best Make-Up in a Film:Matteo Silvi, Adam Johansen

Best Film Costume:Mayes C. Rubeo

The Eternals

Best Film Costume: Sammy Sheldon

What If?

Best Animated Series:

Loki

Best Fantasy Series: (Streaming)

Best Actor in a Streaming Series Tom Hiddleston

Best Guest Starring Performance in a Streaming Series: Jonathan Majors

WandaVision

Best Fantasy Series: (Streaming)

Best Actress in a Streaming Series: Elizabeth Olsen

Best Supporting Actress in a Streaming Series:Kathryn Hahn

Hawkeye

Best Limited Event Series: (Streaming)

Best Guest Starring Performance in a Streaming Series: Tony Dalton

Best Performance by a Younger Actor in a Streaming Series Hailee Steinfeld

Ms. Marvel

Best Limited Event Series: (Streaming)

Best Performance by a Younger Actor in a Streaming Series : Iman Vellani

Moon Knight

Best Limited Event Series: (Streaming)

Best Actor in a Streaming Series:Oscar Isaac

Best Supporting Actor in a Streaming Series Ethan Hawke

The Falcon and the Winter Soldier

Best Actor in a Streaming Series:Anthony Mackie

12 notes · View notes

creating3d · 2 years

Text

#virtual production

0 notes

mylifeincinema · 6 years

Text

My Week in Reviews: November 3, 2017

Wheelman (Jeremy Rush, 2017)

A tightly executed debut whose strengths fall with the choice to keep the camera with the car, its quick pacing and a solid turn by its star, Frank Grillo, and whose weaknesses are always kept fresh due to their living all over its screenplay and its characters' always stupid and convenient decision making. - 5/10

War for the Planet of the Apes (Matt Reeves, 2017)

Dear NBR, HFPA & AMPAS,

FOR YOUR CONSIDERATION

-BEST ACTOR - Andy Serkis

-BEST VISUAL EFFECTS - Dan Lemmon (visual effects supervisor); Anders Langlands (visual effects supervisor); Luke Millar (visual effects supervisor); Erik Winquist (visual effects supervisor); Daniel Barrett (animation supervisor) - 8.5/10

Brawl in Cell Block 99 (S. Craig Zahler, 2017)

This review may contain spoilers.

Absolute garbage (sluggish pacing, hilariously bad performances, ludicrous plot) until the third act, when we're given just about everything we were promised.

Vince Vaughn literally stomps a guy's head off into a shithole. A full extra point for that alone. - 3.5/10

Ingrid Goes West (Matt Spicer, 2017)

At once sad, painfully awkward and absolutely terrifying, Ingrid Goes West is as much a character study as it is a cautionary tale; a millennial King of Comedy that explores the obsession of 'celebrity' in the age of Instagram.

If not for Aubrey Plaza's truly unhinged performance, I'd probably hate this movie, as it's about the very worst people of a generation. Because, really, avocado toast?!? F*ck you. - 6/10

Atomic Blonde (David Leitch, 2017)

Three Things That Make Atomic Blonde a Must-See:

-The Greek Goddess and complete and utter badass that is Charlize Theron. There's no way she's an actual human. No way.

-Sofia Boutella... who toes the line between sexy spy and out of her element newbie so effectively that her fate affects you far more than it rightfully should.

-That 'seamless' staircase/apartment/car sequence... because although it's not nearly as seamless as it should've been, it's still an absolute blast.

Everything else ranged from 'Enjoyable' (the cast and the rest of the action sequences) to 'God-awful' (the writing). It's just a shame that the 'God-awful' is so glaring, or else this very well could've been the next John Wick. - 5.5/10

Happy Death Day (Christopher Landon, 2017)

Went in expecting this to be worthy of nothing more than a few eye-rolls and a bunch of regret, but was given a self-aware horror-comedy that I ended up really, really enjoying.

The formula (which I'm actually shocked isn't used more) mostly works here because it's so much more focused than it was in BeforeIFall, and it never takes itself too seriously or tries to act like its something new or fresh.

But despite being a surprisingly solid horror film all around, most of the credit here has to go to the wonderful Jessica Rothe. Having been one of the very few (sadly) fans of MTV's Mary + Jane, I was excited to see Rothe starring here and she definitely didn't disappoint. She's genuinely really good, here, and creates a surprisingly layered character (surprising because of the type of film, not because of her talent) with a satisfyingly fulfilled arc. I can't wait to see her blow up! (You know, popularity wise... not in a cop car. You sick bastards.) - 9/10

Thor: Ragnarok (Taika Waititi, 2017)

What. A. Blast.

Hilarious. Visually Stunning. Endlessly Exciting. Thor's long been my favorite Avenger, and I've long been an apologist of his two previous films. Thankfully, that all changes now, as he's the proud focus of one of the very best Marvel films to date (probably beating out Guardians 2 for third place). Thank you, Taika & Team.

Some Other Thoughts:

-Jeff. F*cking. Goldblum. Holy. F*cking. Shit.

-Cate Blanchett can destroy my world any day of the week.

-Tessa Thompson can zap the shit out of me any day of the week.

-"Allow me to introduce myself. My name is Korg. I'm kind of like the leader in here. I'm made of rocks, as you can see, but don't let that intimidate you. You don't need to be afraid, unless you're made of scissors! Just a little Rock, Paper, Scissors joke for you."

-Hulk>Banner

-Actor Loki>Real Loki

-Loki Odin>Real Odin

-Chris Hemsworth has shown us he is an incredible comedic talent, and should use his talent to revive the gritty, awesome action-comedy of the '80s.

-Can Taika and James Gunn just direct all of the intergalactic Marvel movies from here on out? (While the Russo Bros. take on all earth-based installments.)

-"Piss off, ghost!"

-No, but seriously, f*cking destroy me, Cate... do it!

-Every single joke worked, here. Bra-f*cking-vo.

-Hands down the funniest film of 2017.

- 9.5/10

Enjoy!

-Timothy Patrick Boyer.

#film #movies #thor: ragnarok #happy death day #atomic blonde #ingrid goes west #wheelman #war for the planet of the apes #brawl in cell block 99 #film review #movie review #my week in reviews

1 note · View note

aioinstagram · 6 years

Photo

Annie Winquist Erik Follestad Johansen til VG: – Ja jeg har ny kjæreste is Trending on Wednesday June 27 2018 https://www.aioinstagram.com/annie-winquist-erik-follestad-johansen-til-vg-ja-jeg-har-ny-kjaereste-is-trending-on-wednesday-june-27-2018/

VG says: Erik Follestad Johansen til VG: – Ja, jeg har ny kjæreste Seoghør.no says: Bekrefter ny kjæreste

Top 2 articles about Annie Winquist:

Erik Follestad Johansen, som tidligere har vært på landslaget i hockey, samt spilt for Vålerenga og Frisk Asker, har funnet lykken med Lillehammer- jenta Annie Winquist (25). Før helgen la han ut et bilde av seg selv og kjæresten på sin egen Siden den gang har den populære 29-åringen funnet lykken på ny, med Annie Winquist (25). Overfor Se og Hør forteller Follestad at han og kjæresten akkurat har blitt sammen, og at de ble kjent like etter jul, gjennom felles venner. – Helt rå dame

0 notes

mi5016jackheslop · 4 years

Text

I first discovered the process of animation when I was about 7 years old. My school gave my year group a lesson using a program called 2animate and at the end of the day, when everyone had left I was still in the classroom at the PC. I was just engrossed in the couple seconds worth of moving images that I had created and couldn't pull myself away from the screen. The teachers noticed this and my parents bought me a copy of the software which quickly started to consume all my time at home. Ever since then I've been fascinated by motion and the way things move and I was especially fond of animal run cycles. In recent years 3D animation has really caught my eye and more specifically photoreal CGI. Being convinced that something totally impossible was actually filmed and not just added with software in post truly fascinates me. In this video I'll be discussing lighting and compositing. These are a couple aspects of the VFX pipeline that I have only recently started to understand the importance of and some of the skills required to find a job in these areas of the industry. I also will use the techniques I learn about to try and create my own VFX composition.

The first job that I'd like to address is that of the VFX supervisor. One of the key roles of the VFX supervisor is to ensure that the filmmakers have an appropriate set up while recording the initial photography to save time and money or so that it won't require weeks of prep/paint afterwards in the rotoscoping or retouch departments before advancing further down the pipeline. What interests me most about this position though is the lighting reference they take care of. When filming a shot that will contain VFX a matte grey ball and a shiny chrome ball is commonly used. The grey ball is used to help the cgi artist understand the light direction, intensity, temperature and to gauge how harsh the shadows should be. To achieve this the artist would recreate the matte ball in cg and by comparing it with the image of the real one try to replicate the lighting conditions in the software with those that were present on set during filming. Once correct the light would then be applied to the model. The chrome ball however is used to understand how reflections are picked up on certain materials such as the shiny metal on a vehicle or something similar. It is also replicated in cg and is used to align what is known as an environment light or HDRI. This is basically a 360 degree photo that encompasses the 3D scene to give the models realistic reflection and lighting. The VFX supervisor decides where the balls should be placed and whether or not to move them during filming based on differences in light around the set. Some claim that it's old fashioned but from what I've seen many directors still prefer to use these quick and easy methods of lighting reference. A Macbeth chart usually accompanies the two spheres but this is used as reference for consistent colour correction rather than for lighting.

One of the best movies I can think of that shows brilliant use of lighting was the first Transformers movie. Scenes like this where you'll notice in the fog the light being blocked by Bumblebee, very cool stuff. Or how in this scene not only is the environment being reflected off Optimus but also Sam and Mikaela are reflected here. I couldn't find information on how they did this scene specifically but usually when you needa subject like people for example in a reflection they are usually filmed from the required angle or are actually modelled, textured and animated. This method can produce much better results if done well but is much more costly and time consuming. I also like how the animators matched the movement of Optimus's legs to move behind Sam exactly as he blocks the light. Little things like this are often planned by the vfx supervisors sometimes even at the time of filming to make things in post easier.

During my research I came across Erik Winquist, a VFX supervisor who I found particularly inspiring. He graduated Ringling College of Art and Design with a degree in computer animation and started his career in 1998 when he was hired as an assistant animator at Pacific Data Images. Fast forward a few years and he's working at Weta Digital and has been involved in the making of huge films such as The Lord of the Rings: The Two Towers, War for the Planet of the Apes, Peter Jackson's King Kong, Avatar and many more. He claims that every show is completely different from the last and as a result a lot of problem solving is required, especially when you have no idea how you're going to accomplish an end goal at the outset. Erik says he and his team are constantly jumping in and out of Maya and always have a Nuke session open for one thing or another. This brings me onto my next point, compositing.

Compositing in its simplest form is combining multiple assets that were created seperately into one scene to make it seem like it was all shot together. One of the challenges a compositor must deal with is the tracking of the clean plate. This is so that the digital camera within the animation software is moving around the model in a way that matches the tracker footage. There are a number of softwares that can be used to track a camera through 3D space, After Effects, SynthEyes and 3DEqualizer just to name a few. I'm going to focus primarily on Nuke though later in the video since it was mentioned by Erik Winquist and is easily accessible.

I was encouraged to try and utilise the knowledge and techniques that I've been researching and give 3D compositing a shot myself. If I take the necessary steps it should allow me to bridge the gap between 3d animation and the real world.

So first thing I did was take a simple video with as little shake or movement as I could manage so that Nuke would be able to track it easily. The software tracks specific points on the footage and uses the data to calculate a 3D space and the movements of a camera through this space.

This is a character I created who's supposed to be made from a material with similar properties to diamond or glass. I chose him to be my Guinea pig in this particular experiment because I thought his transparency would react with lights in interesting ways. Within Maya I created square lights above the model in the same formation as those within the room I filmed in to make the lighting as accurate as I could. Despite this you'll never really be able to perfectly replicate the lighting conditions without recreating the environment within Maya to simulate how the light actually bounces around the setting.

Unfortunately I wasn't able to capture a great quality environment light. HDRI stands for high dynamic range image and is basically an image that shows a greater range in luminance levels compared to a standard image by reducing the loss of detail in the highlights and shadows. This is often achieved by creating a blend of several images that were taken at different exposures. I only had my phone and an app I downloaded to help create the image so it didn't turn out great. Not that this matters much though since I'm just using this as an opportunity to learn more about VFX processes and on top of that I didn't know how to correctly apply the hdri image to the scene and I encountered quite a few render problems while trying to work around this. In the end I decided to just render out what I had and this is the result. Unfortunately as you can see the model doesn't look convincingly embedded with the image. I assume this is partly due to the absence of environment lighting or the lack of scratches and imperfections on the model that you would expect to see on a real object which would otherwise reflect light differently. I actually think biggest reason though is the noise levels of the plate versus that of the clean model. The contrast really ruins it for me. At the end of the day though I got to experiment with some new software and while I don't yet have access to all the necessary tools that are required to create the convincing VFX shots I'm after I still think it was a decent first attempt. I'm excited for next semester to learn more about compositing.

Now what to possibly do with all these newfound skills? While researching career paths I tried to stay away from the hugely successful, international companies like Weta Digital or ILM and look for smaller, more local and UK based companies. I came across a company called Milk which I'd never actually heard of but was suprised to discover that they're an award-winning independent vfx company based in London that have worked on TV shows and movies such as Doctor Who, The Martian and The Chronicles of Narnia to name a few. They are currently advertising a lot of available roles at the studio, one of which being compositors. Some of the qualifications they list to become a compositor include a good working knowledge of Nuke, a degree in related fields of film, communications and art, and ideally at least two years experience in feature films. Some interesting statistics about the industry include Closer to home still is the company...

I've often thought about how an independent career away from a studio might play out. There were several guest speakers who came in to talk to the animation department over the semester about possible roads to go down when searching a career. At the moment not many interested me but the one that stood out was James Beavers. He created a YouTube channel mainly focused on gaming with over 2.5 million subscribers. What's interesting though is he studied the animation course at Northumbria university as well and has gone on to create this really sucessful channel. Owning a popular YouTube channel has always been something I thought was pretty cool and it made me think of alternative career paths that I could go down. Another YouTube channel that I'm fond of is Corridor. They have actually taught me a considerable amount of what I know about VFX and they make videos like this, similar to what I could one day produce with the knowledge and skills I develop.

0 notes