by Florian Werzinski, Paula Gorczyca and Natalie Berg

Paula and Natalie developed a fictional title design for a dark Netflix series at Flensburg University of Applied Sciences. Their VFX project “Falling Apart” demonstrates their skills in Blender and After Effects and offers an insight into the production of complex 3D scenes with a horror twist.

From title design to series: a semester project

Flensburg University of Applied Sciences may not be known to many as the first place for creative media projects. But it is precisely here, far away from the hustle and bustle of the big cities, that students like Paula and Natalie concentrate on their projects in the field of media informatics. They wanted to utilise the potential of their degree course to create a fictional title design for a Netflix series. The result is “Falling Apart”, a dark and atmospheric mystery series that shows not only technical sophistication but also creative ambition.

The idea behind “Falling Apart”

“Falling Apart” was created as part of the fifth semester post-production course. The task: to create a title design for a fictional mystery series. They were inspired by atmospheric series intros such as “The Haunting of Hill House” and the dark opening of “Resident Evil 7”. The aim was to integrate elements of thriller and mystery into a forest scene with a dilapidated hut and skull – classic motifs that create an oppressive and mysterious mood.
The project was realised in Blender and After Effects. Paula was responsible for modelling the 3D objects and Natalie for post-processing and colour correction. The combination of these programmes made it possible to create realistic scenes that impress with careful lighting and textures.

The technical realisation: Blender and After Effects

The decision in favour of the 3D implementation was made quickly. Both already had experience with Blender, the preferred 3D programme at Flensburg University of Applied Sciences. The aim was to make the scenes as realistic as possible and to test their limits in 3D modelling. A storyboard was created that clearly set the scene for the main motifs of the story – a forest hut, a skull and an arm. The next step was “blocking”, i.e. the placement of the most important 3D elements in the scene. Low-poly models were used here to test the proportions and compositions without putting too much strain on the computer capacities. The actual modelling of the hut and the skull only began afterwards. The skull was sculpted and texturised in Blender, while the hut was created using references. Using an HDRI environment and a sunlight source, the scenery was further refined to create depth and realism. For the typographic elements of the title design, the “Ivy Generator” was used, with tendrils growing out of the font. This symbolises the passing of time and reinforces the gloomy atmosphere of the series.

Music and post-production: the finishing touches

Once the 3D scenes had been created, Paula and Natalie focussed on post-production in After Effects. Colour correction played a central role here. To make the mood even darker, a transition from warm to cold colours was added to reinforce the thriller atmosphere. All scenes received the same colour correction, adapted to the lighting conditions of the raw files. The addition of volume light and spotlight effects to give the image more depth was particularly complex. The effects were animated by hand, which took a lot of time, but ultimately achieved the desired effect. Although the college had licences for plugins, they decided not to use them in order to test their skills without additional tools.

Challenges and learning experiences

As with many projects, there were technical challenges. In the beginning, Paula and Natalie were not careful to keep file sizes small, which unnecessarily increased render times and caused the computers to crash regularly. From the middle of the project onwards, they used the university’s more powerful computers, which helped them to deliver the project on time. Another stumbling block was the compatibility of the After Effects versions. As they were working on different computers, they repeatedly encountered problems with file interchangeability. This experience taught them to make sure they use standardised software versions right from the start.

The next project has already been finalised

Following the successful completion of “Falling Apart”, Paula and Natalie are now working on their final projects. Paula is planning a 3D animated film with mixed media elements, which may be submitted to a film festival. Natalie, on the other hand, is creating the design and website for the university’s comic magazine.

Conclusion

Flensburg University of Applied Sciences offers its students on the Media Informatics and Film & Media Arts degree programmes opportunities to express themselves creatively and technically through practical projects and good technical equipment.
“Falling Apart” is an example of how much potential there is in the combination of Blender and AE. Media Informatics with a focus on film not only teaches technical know-how, but also the ability to implement creative ideas – exactly what the VFX industry needs.

At Flensburg University of Applied Sciences, you can learn the basics of VFX, 3D animation and post-production in practical degree programmes such as Media Informatics and Film & Media Arts – without an entrance exam. When it comes to practical degree programmes in the field of digital production, Flensburg University of Applied Sciences has a lot to offer. The Media Informatics and Film & Media Arts (FMA) degree programmes in particular offer in-depth training with a focus on VFX, 3D animation and post-production. And the best thing about it? There are no entrance exams or strict entry requirements. Here you can get an insight into what to expect at this university and why it’s worth thinking about starting your studies here.

Media informatics with a focus on film: a versatile degree programme

The Media Informatics degree programme with a focus on film offers a balanced mix of theory and practice. You not only learn the basics of image design and programming, but can also delve deep into the world of 3D animation, modelling and rendering. Particularly interesting: in addition to traditional subjects such as drawing and film shooting, you can expect modules such as 3D rendering in the fourth semester and post-production in the fifth semester. This will optimally prepare you for working in the VFX industry.
The combination of creative work and programming could be a particular challenge for some, but this makes this degree programme all the more versatile. As around 100 students are accepted each semester, this is a comparatively large degree programme – so you have the opportunity to network in a lively and diverse student community. The university offers a special bonus with its regular excursions to FMX. Invited guests who work as artists in the VFX industry also provide practical insights into the industry.
Film & Media Arts: a focus on creative film design

The Film & Media Arts (FMA) degree programme is newer and offers a slightly more artistic focus than Media Informatics. It is less about programming and more about the creative design of film formats such as short films, genre films and social media content. You will learn how to use cameras and lighting equipment and get a solid introduction to VFX, 2D & 3D animation and post-production. Even though this degree programme accepts fewer students – only 15 to 30 per semester – demand is high. An entrance exam in the form of a portfolio is being planned, which could make the selection process a little more selective in future. In addition to excursions to the Berlinale and the Hamburg Short Film Festival, this degree programme offers practice-oriented training opportunities to help you establish yourself as a film artist.

Equipment and technology: high-end equipment for students

When it comes to technical equipment, Flensburg University of Applied Sciences leaves nothing to be desired. As a student, you have access to: 75 cameras from brands such as Arri Amira, Sony FX6 and Canon C300, including various light sources such as Arri Skypanels, Astera Tubes and Dedolights and, of course, a wide range of software, including Maya, Blender, Adobe Premiere, Nuke and Resolve. The university has four PC labs, each with 20 workstations. Two of these labs are equipped with the latest GTX4090 graphics cards – a boon for anyone wanting to work in 3D rendering or VFX. There are also three Mac labs where you can work on Wacom Cintiqs to realise your creative visions.

Cooperations and exchange programmes

Another advantage of studying at Flensburg University of Applied Sciences is the international cooperation opportunities. The university has partnerships with universities in countries such as Sweden, Mexico, Namibia, New Zealand and South Africa. It is also close to the Animation Workshop in Denmark. This means you can study abroad for a semester and expand your knowledge of VFX and post-production at the same time.

Application process and costs

The application process at Flensburg University of Applied Sciences is simple and straightforward. There are no special entry requirements other than a general higher education entrance qualification. You can easily apply online. Every winter semester, 100 students are accepted for Media Informatics and 15 to 30 for Film & Media Arts. It is currently not possible to apply for the summer semester. There are no tuition fees for the degree programme. The semester fee is 269 euros, which includes the costs for the student union, a Deutschlandticket and the AStA fee. This also gives you access to discounted lunch and public transport.

Conclusion: A future-oriented degree programme with many opportunities

Flensburg University of Applied Sciences offers a solid foundation for anyone who wants to gain a foothold in the VFX industry or in creative film production. The Film & Media Arts degree programme is particularly popular and in demand, while Media Informatics has a strong technical focus. With well-equipped laboratories, international collaborations and practical modules, nothing stands in the way of your career in digital production. Whether you want to become a filmmaker, animator or post-production artist – you will find the right training programme at Flensburg University of Applied Sciences.

Flensburg University of Applied Sciences – hs-flensburg.de
Film & Media Arts | Flensburg University of Applied Sciences – is.gd/flensburg_film_media_arts
Application information – hs-flensburg.de/study-interested/application
Co-operation partners of Flensburg University of Applied Sciences – hs-flensburg.de/hochschule/international-office/partnerhochschulen
Results of the degree programme – artstation.com/vfxflensburg

The post University up north! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

There are also announcements from the conference programme, news from the forum and the Animation Production Days are now looking for exciting project submissions.

Tickets

Two ticket options allow trade visitors to attend both on site in Stuttgart and virtually: With the Conference Pass, trade visitors can experience FMX live at the Haus der Wirtschaft in the centre of Stuttgart from 25 to 27 April, while the Online Pass allows them to immerse themselves in the virtual online event on 28 April. Much of the content will then be available to all visitors on demand until the end of May. In line with the certification as a climate-friendly event (see press release #2), visitors who purchase an FMX ticket will be able to travel at a reduced rate with Deutsche Bahn and also use the VVS public transport system in Stuttgart free of charge. Tickets are available here: Ticketshop.

Art direction and concept art for independent productions and major IPs

The art of filmmaking, art direction and concept art for independent productions and other high-profile projects will be the focus of a talk by Almu Redondo, who has worked on MY FATHER’S DRAGON, WOLFWALKERS, BELLE and animated sequences for Riot Games.Redondo will use her work to explain her creative strategies and show how storytelling can benefit from the power of images.

The VFX of KLEO

The conception and world building of believable but not necessarily historically accurate locations in 1980s Berlin, Spain and Chile will be the focus of a session by Pascal Bußmann and Matthias Backmann (LAVAlabs) on the Netflix series KLEO with Jella Haase. Together they will report on how they realised the implementation of around 450 VFX shots within a year, from pre-production to the final shot.

Virtual camera for stylised animated films

Christos Obretenov will explain how stylised rendering in animated films has expanded the creative possibilities of the virtual camera through simulated painting techniques such as brush strokes, watercolour, graphic linework and light composition. These techniques are used to set virtual light and shadow, (in)sharpness and depth of field in various animated film projects. Christos’ company Lollipop Shaders develops shading tools and workflows for stylised rendering in animated films. He is the lead developer for Pixar’s RenderMan stylised looks as well as principal shader writer on numerous feature films with Sony Pictures Imageworks using stylized & non-photoreal rendering, including THE MITCHELLS VS. THE MACHINES and the upcoming SPIDER-MAN: ACROSS THE SPIDER VERSE.

Forum News

The FMX Forum with Recruiting Hub, Marketplace, School Campus and workshops is currently filling up with long-standing and new partners. There is still a great demand for talent, especially in the area of recruiting: the FMX Recruiting Hub is already fully booked. Below is a list of some of the confirmed Forum partners:

Recruiting Hub: benuts, Ghost VFX, One of Us, Outpost VFX, Realtime UK, Rotomaker,
Scanline VFX, Untold Studios.

Marketplace: Artineering, The Element, Golaem,
Notch, Ranch Computing, The VFX Shop.

Workshops: Binary Alchemy, Notch, vrbn studios.

School Campus: Animationsinstitut, Flinders University, Hamm-Lippstadt University of Applied Sciences, Hochschule der Medien, Howest University of Applied Sciences / Digital Arts & Entertainment, Luleå University of Technology, Merz Akademie University of
Applied Art, Design and Media Stuttgart, SAE Institute, Technische Hochschule Ostwestfalen-Lippe
Hochschule Ostwestfalen-Lippe – University of Applied Sciences and Arts.

Animation Production Days (APD) launch Call for Projects

The 17th Animation Production Days (26-28 April 2023) have launched their Call for Projects, where freshly developed animation projects can be submitted. In 2023, the co-production and financing platform, a joint event of ITFS and FMX, will once again offer a talent programme for newcomers and a co-production programme for production companies and studios looking for animation projects to work on together. The deadline for registration and project submission is 9 February.

Further information can be found here: www.animationproductiondays.de

Further information can be found at: www.fmx.de

The post FMX tickets now! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

This article by Sabine Hatzfeld originally appeared in DP 06 : 2014.

A special film school opened in Mannheim at the beginning of this year. The non-profit organisation “Flimmermenschen” views film as a holistic cultural phenomenon. The programme is aimed at students, hobbyists and people from outside the industry, as well as short film makers and trainees – such as media designers for image and sound – who want to deepen their knowledge.

Behind the “Flimmermenschen” association is Dr Marc Reisner, a video artist and director(www.flimmermenschen.de). Reisner has produced over 100 intermedia theatre productions to date, from 3D and 2D to 16-millimetre film. He has worked with Christoph Schlingensief, Achim Freyer and Jimmy de Brabant, among others, and has already realised a theatre production in a real-time bluebox with 3D backgrounds.

He has also been teaching theatre, film and 3D animation at universities since 2000. He has noticed that many of his students are more film fans than film connoisseurs, and that the universities are training the film-making elite. But what happens to the rest? With the model maker who is interested in 3D printing? With the short film maker who wants to learn about VFX? Or students who want to know how an animation studio works?

The idea of founding an association was born and the first half of the year was characterised by the pilot project “Polygon Racing”. This was not only about designing and animating cars, but the participants also investigated the laws of physics and turned their attention to topics such as the cultural adaptation of trailers or the merchandising concept of Disney/Pixar’s “Cars”. The subject of film is thus examined from several different angles. The course costs are quite reasonable and are on a VHS level: participants paid a total of 150 euros for twelve evenings over three months and received a certificate of attendance at the end of the course. This course was offered twice and there was also an expert course. This marked the end of the pilot phase. From September, the Flimmermenschen will then expand their programme to eight workshops. We spoke to Marc Reisner about the organisation’s concept and its plans.

DP: What exactly do you criticise about the current training situation? Marc Reisner: There are media education projects and film schools, but nothing in between. I like to use a football club as a comparison: not everyone wants to become a professional footballer, but even amateurs don’t want to remain at ball-stopping level, but perhaps achieve more. In other words, not everyone who studies film wants to become a filmmaker later on. But they also don’t want to sit in front of a trick box all day or have someone who has never been on a film set explain to them how to make a film. Universities only train the top end of the film industry. But who takes care of the rest?

DP: How did the organisation come about?

Marc Reisner: The association was founded in Mannheim at the beginning of the year. For years, everyone has been saying that Mannheim is the city of music, but that something needs to be done about moving images. There are a lot of great funding opportunities in Germany, but if you get little or nothing from them, it can happen that nobody gets moving. That’s why I said last year: we’ll just do it now. My experience in the theatre has shown that once the ball starts rolling, a lot of things happen by themselves.

DP: What is your goal?

Marc Reisner: Of the hundreds of students I’ve taught so far, almost all were film fans. But none of them had the slightest understanding of film. Most film schools have the same problem: People apply who can list film titles but don’t know what happens in the 90 minutes in aesthetic and technical terms. But that’s only one aspect. Conversely, the medium of film influences our language and shapes our role models. The mobile phone was invented by an Enterprise fan, Dr Martin Cooper. Minority Report” showed us what good, interactive design is all about. The disco boom was triggered by “Saturday Night Fever”. You don’t even have to go to the cinema to be influenced by film. Our society breathes film.

DP: The advisory board is made up exclusively of academics – what about industry professionals?

Marc Reisner: Our target group is people who are interested in film for whatever reason, who want to learn more about it or who are looking to enter the industry. Didactic concepts are also of particular interest to us. Hence the scientists. We have the professionals on board through the advocates.

DP: Your first course “Polygon Racing” is designed to teach 3D knowledge to non-professionals. But isn’t that what 3D professionals are for?

Marc Reisner: Exactly. That brings us back to the football club. In our first course, for example, there was a set designer who wanted to spice up his models. He bought a 3D printer for this purpose. Building a propeller out of wood is pretty time-consuming; printing one out is not. You don’t always have to think of Hollywood films to make good use of 3D. Another course participant from the automotive industry has a lot to do with Previs in order to explain the functionality of industrial robots, which are difficult to take to customers. An agency would charge huge sums for a virtual representation, but the participant is now so fit that he can produce simple visualisations himself. This saves time and money and does not result in any transfer losses.

DP: Do you also target young people who are interested in training in the field of animation/VFX?

Marc Reisner: Most young people watch a Pixar film and then think that they want to do this professionally because animation is cool. We give them an overview of how an animation studio is organised, which departments are involved and what the basic work steps are. If you know afterwards that you’d rather study graphic design after all, you’ve already gained something. As I said before, my impression is that most young people have no idea what it means to work in the film industry. This is precisely the knowledge we want to impart.

DP: To what extent could professionals also benefit from a course?

Marc Reisner: The expert course is not intended for real 3D professionals, but for those who have completed the basic course and already have a basic knowledge of 3D. We don’t want to train digital artists, we just want to open doors. There are plenty of training opportunities for 3D artists. To be honest: far too many.

DP: How is Flimmermenschen financed as a non-profit organisation?

Marc Reisner: Through donations, voluntary work and small grants from the city. We are also generously supported by Musikpark Mannheim through the premises they provide and by Autodesk, Adobe and Dosch Design.

DP: How do you communicate real conditions in the industry?

Marc Reisner: As I have shot a lot myself and also taught lighting for a long time, I would like to bring in real film practice. At the moment, however, there is still a lack of equipment in every nook and cranny. Our first course also focussed on 3D because the technical requirements in this area are somewhat lower. Real framework conditions are demonstrated using examples from current cinema films. In “Polygon Racing” we take a detailed look at “Rush” and work out with the participants what 3D is actually needed for in the cinema. There will also be “Flimmertalks”, where film-makers will talk about their day-to-day work, such as Chris Vogt from Pixomondo.

DP: With “Polygon Racing”, you combined animation knowledge with expertise from collaborations with racing drivers and car specialists – but is that how all the big studios work? Why do you think your approach is so special?

Marc Reisner: Because we are not a film studio and it is sensational for the average German to think outside the box. It may be normal for film-makers to absorb the topic they are currently working on. However, many students or people from outside the field first have to take this step. Which brings us back to the topic of methodology: How do you find out where the centre of rotation of a car is when it is moving around a bend? We filmed with a chassis designer who explained this. And then every course participant was able to try it out for themselves.

DP: Why is “Polygon Racing” being offered in a different form in the new programme?

Marc Reisner: There are several reasons for this. Firstly, we have received a few enquiries from outside the city. People who don’t live in Mannheim won’t be travelling to us once a week for two hours. It was therefore clear that we had to offer our courses in blocks if we wanted to appeal to people from the surrounding area. Secondly, I myself had the feeling that the course was becoming more and more like software training. And that’s exactly what we don’t want to offer. We want to demonstrate the concepts and not spend hours clicking buttons.

DP: Who are your lecturers?

Marc Reisner: I taught “Polygon Racing” on my own. That was our pilot project, which allowed us to try out a lot of things. As I said, from the autumn we will be switching to a workshop programme with courses running from Friday lunchtime to Saturday evening. As a result, we have also been able to attract lecturers who simply take a weekend off for us. For example, director and digital artist Andreas Dahn will be coming along and doing something on the subject of VFX planning. Music video legend Robert Bröllochs will also honour us (editor’s note: Modern Talking, Scooter, Xavier Naidoo …) and offer something on the subject of filming with amateur actors. Together with Tilman Bischoff from “Planet Schule”, I’m currently developing a course on space physics and cinema. “Gravity”, for example, is very much about realism, but in the decisive scene the dramaturgical element prevails. That’s why we want to ask the ESA what materials an astronaut’s safety rope is actually made of. There certainly isn’t one like the one in “Gravity” in reality.

DP: What hardware is the “einsnull” spacecraft equipped with?

Marc Reisner: There are eight iMacs (i5, with 8 GB). They are all networked together and as a lecturer I can access every computer. If you’re working with young people, you can always put two on one computer. The adults prefer to try things out for themselves.

DP: Which software packages do you work with?

Marc Reisner: As we are sponsored by Autodesk and Adobe, we work with Maya and the usual suspects such as Photoshop, After Effects and so on. For our space project, we realised that physicists can’t do very much with the rigid bodies in Maya. That’s why we are once again looking for software that allows physically correct simulations. We also have a direct line to Sebastian Dosch from Dosch Design, who provides us with everything our hearts desire. Autodesk is an important partner for us, because they have a lot of experience with 3D programmes at the intermediate level, especially in the English-speaking world. We were able to learn a lot from them, for example how to use Maya for biology lessons. In any case, people in America like to work on a project basis, which is very similar to our approach. In Germany, practically nobody dares to tackle the subject. It only starts at university level.

DP: What’s the deal with the Flimmertalks?

Marc Reisner: We organise these guest lectures for the public in cooperation with the Cineplex Mannheim. Anyone who wants to can come. In terms of the film industry, Mannheim is not exactly the centre of the universe. Therefore, there are many interested people who are not necessarily interested in our course programme. As we are a non-profit organisation, I think it makes sense to say: “We have people who have something to tell. Come and listen. Regardless of whether you attend our workshops or not.” It’s important to us that you can simply experience what it means to work in the film industry and to be “on fire” for your job. Many people still think that you go there, shoot a bit of film and spend most of your time lying by the pool. Especially outside the professional world, a frightening number of people still equate mobile phone videos with cinema films. It’s kind of the same thing, they say, they just have more money in Hollywood. They never talk about performance, blood and tears. That’s why we had Uwe Boll on in the last Flimmertalk – we know all about his reputation as a director. But he is someone who makes films and doesn’t talk about projects that never come to fruition because nobody wants to pay for them. His talk made a lasting impression on many members of the audience, as it was suddenly no longer about the quality of his films, but about how to get big projects off the ground. As a producer, he currently has a film in the pipeline with Antonio Banderas and Gwyneth Paltrow, namely the film adaptation of Picasso’s life (directed by Carlos Saura). He really had a lot to tell.

DP: What are your contacts with studios like Pixar?

Marc Reisner: Pixar, Pixomondo and many others are just a phone call away. That’s our unofficial technical and content support, so to speak. For example, Tanja Krampfert from Pixar supported us in the development of our first course “Polygon Racing”. Some of the participants are currently undergoing vocational orientation – we have students who are still familiarising themselves with the buttons on the mouse. So you have to realistically question what they can learn from a full professional if they are still struggling with the basics.

DP: What is the role of the organisation’s advocates?

Marc Reisner: If you make the bold statement that film has something to do with culture, you will quickly realise that all areas of cultural education are occupied by the long-established institutions: Theatres, museums, music schools. That’s why it’s important first of all to bring people together to stand in front of us and say: film is important too. Film is also culture! The advocates are all people who are really committed to our cause. Some of them will also be giving workshops in the new seminar programme, such as the film director Stefan Hillebrand or Robert Bröllochs, as already mentioned.

DP: Why are there only a few people from the 3D industry listed in the programme?

Marc Reisner: Quite simply, it’s about anchoring the flicker people in the region. All the advocates come from the Rhine-Neckar metropolitan region or have at least worked here before. The advocates are primarily there to show regional politicians that they support our concept of film education. An artistic director of the National Theatre is more effective than a 3D artist from England.

DP: Is the principle of “Polygon Racing” transferable to other subject areas and are you planning to expand the range of courses?

Marc Reisner: Definitely. As I said, we started out in the virtual world because it offered many structural advantages. We are now extending the findings from the course to other subject areas: For example, there have been numerous requests for us to do something like a “basic film course”. So not a course where you learn what a long shot or close-up is, but one that explains how film works in the first place. We forget far too quickly that we are used to watching films. But a Martian would ask: “What does that have to do with reality? The film has an edge, and you can’t touch the woman in the shower, and nothing is wet here. It’s actually just moving blobs of colour.”

The post Between HFF and VHS | Retro article first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: Scientific researchers at Otto von Guericke University Magdeburg have published a method via GitHub that can be used to estimate the position of a person’s head.

In toto: The method goes by the name of 6DRepNet, the corresponding academic paper is called 6D Rotation Representation for Unconstrained Head Pose Estimation. According to the scientists involved, their method exceeds conventional approaches by up to 20 per cent. It remains to be seen whether the method can be tested under real-world production conditions in the entertainment industry. The scientists involved in the method are PhD students Thorsten Hempel and Ahmed Abdelrahman – as well as Professor of Neuro-Information Technology for Electrical Engineering and Information Technology, Ayoub Al-Hamadi.

Clicked on: The research milestone can be accessed on github.com .

Source: 80.lv ( news from Gloria Levine)

The post How can the human gaze be calculated? first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: This new method will make it easy for you to take your image editing to the next level – based on simple sketches.

Who are the clever minds behind it? The method was developed in co-operation with Johns Hopkins University and Adobe Research.

What makes it special is that instead of having to draw a mask to mark the area to be edited, the new approach is based on the sketches made by the user – otherwise the entire image is used as a template.

Availability: The research results have been published in an academic paper entitled SketchEdit: Mask-Free Local Image Manipulation with Partial Sketches. You can download the corresponding code from Github.

Click further: And we continue with academic fieldwork: On 2 September 2020 , we presented an academic publication from Standford University in which the water simulation was further developed. A few days later, on 7 September 2020, Nvidia, together with Cornell University, showed you how video-to-video synthesis works. And finally, on 22 October 2021 , we told you about when Stanford and Cornell put their heads together to transplant 3D objects into 3D scenes. We hope you gain maximum insight from this academic reading material!

The post Open Source Editor | Image Editing first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.