One of the things people always love about 007 is his ability to do the impossible. The unexpected. The unconventional. Breaking away from the rules and doing what people are never accustomed to doing.
Now as extreme as his majesty’s secret agent can be at times, his peculiar way of getting the job done may just teach us a bit about getting ours done to? Especially when it comes to following ironclad pipelines and processes that everyone seems to swear by.
When embarking on a character creation project there are so many things to plan for that it might seem overwhelming at first. Artists don’t just have to worry about coming up with the concept of the character, but they also need to consider sculpting a 3D character, shaping the details, creating a 3D mesh, texturing, and finally rigging and animating. What makes this process even more demanding is the need to model custom 3D clothing, more so if you actually wish this custom clothing to have soft cloth physics simulations.
When people think about 3D Compositing, the first adjective that comes to mind is… complicated. Very complicated. As the thought of having to do 3D compositing brings concerns of having to combine computer-generated assets, with live video footage, complex lighting designs, synchronized real-time animation, and accurate camera adjustments.
To the everyday video editor or special effects artist, all this can seem a bit daunting, when in reality it is all but the opposite thanks to a streamlined suite of amazing software tools.
Whether in school or work, we’ve all sat through countless presentations – some quite engaging, but others – pretty painful. Chances are, some of those were painful because of how the data was presented – in massive tables and hard-to-read graphs that lacked a compelling story. Many presenters believe that “the numbers speak for themselves” and that the audience will automatically follow the speaker’s logic.
But this assumption is dangerous and does a huge disservice to data, massively hindering its potential.