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This commit marks the end of an era for me -> https://github.com/mikeboers/Nitrogen/blob/master/README.md . Farewell, my dear web framework.

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I just did a little work on one of my open-source projects, just so I don't break my streak on @github. Don't know if that is a good thing.

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`git filter-branch --tree-filter` with 3k+ commits and 7k+ files on an overloaded NFS is not a recipe for a good time. #git

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If my photos aren't canted then I'm not trying hard enough.

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SIGGRAPH 2012 - Day 5

Until Next Year

This happened to me last year as well, and similarly with the smaller Vancouver SIGGRAPH events in the past few months, in which I lose perspective in the massive sea of expensive blockbuster film work:

We have gotten to the part of #siggraph where I develop a persistent rage for not being involved in enough awesome things. #neverenoughtime

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However, perspectives need to be kept in check. My short, Blind Spot, has been doing rather well lately, getting into yet another festival (I think that is 6 now), and the VFX of that film was the result of only two people working in their spare time.

But for now the plan is to feed off of the helpful part of my rage and do the best job I can do, both at work, and independently. I'll be back next year, hopefully knowing a few more of you and having a slightly larger influence on the industry and presented works.

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SIGGRAPH 2012 - Day 4

On Massive Projects

Sessions continued like normal, with me learning too much and inspiring me to try working with way too many of them... like normal. There was a theme that I kept hitting on this week, however, that requires some additional reflection.

My work in this industry thus far has been constrained to (relatively) small projects, mainly on episodic TV or direct to DVD movies. However, many of these sessions (not just the production sessions but also many talks and tech papers) reveal to me that the scope of these projects is at a completely different level than I am used to.

For example, I attended the ILM Battleship presentation on the 4th day in which there were a number of stats thrown around for a particularly heavy shot (the presenter said that he believed it to be the most complicated VFX shot, ever) including that it took 2-5 days per high resolution fluid sim (of which there were many), they cached approximately 20TB of simulation data, and it consumed nearly 23 years of sequential CPU time. Another was during the Disney Paperman presentation on the 5th day in which the director talked about how casually it seems like he was handed a few dozen animators who just happened to have some spare time.

These scales (of both tech and personel) are staggering since the majority of the work I have done in the industry has been limited to what can be accomplished in a few months by a handful of people, but I am very excited (although terrified) to hopefully be a part of these sorts of massive projects in the future.

I also greatly appreciate that the people who are involved in these projects still respect the work that us little guys do, as demonstrated by a number of the Pixar engineers when I discussed my work on The Borgias with them.

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Lots of little (and not so little) tremors at the LA convention center today. The #siggraph presenter barely missed a beat.

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They were on to something when they said you should dress in layers in here. Now where did I put my sweater? #siggraph

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We waited nearly an hour in a standing-room-only crowd for the #RenderMan #BOF after it was relocated; it seems nobody informed the speaker.

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SIGGRAPH 2012 - Day 3

Technical Papers - Video Processing

Today I will focus solely on the video processing session. First, the eulerian video magnification really demonstrated a fundamental gap in my knowledge of signal processing. I like to operate by having an intuition of how every part of a system will behave once we start introducing changes or stresses, and working in the frequency domain is one of those places that still seems like magic to me (and in this case magic is a bad thing).

The paper on selectively deanimating video (see their webpage) resulted in incredibly cool cinemagraphs with very little user effort. While there are still a number of subtle artifacts that I would still remove if doing this work by hand, going from several hours of expert compositing to under a minute of untrained user interaction is a fantastic reduction of complexity. I am certainly inspired to break out some footage I shot a few weeks ago for this very purpose and give it another try.

Finally, the paper on seamless cuts of interview footage (see their video) was very conflicting. The technique is very smart and has absolutely stunning results, but the honest filmmaker in me (not just the general filmmaker, mind you) is absolutely appalled that this tool exists. Unless this becomes accessible to the general public (which it is not in the current incarnation) and therefore always in consideration when watching edited interviews, it exists to convince an audience that a third party interviewee is speaking within a context that is completely artificial. You don't have to take someone out of context anymore in order to twist their words, you can do it right in front of the viewers face without blinking.

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