Guillaume (Guilow) Audibet 🔜 Reboot’s Post

Take a deeper look at how we made these fast-paced colorful characters and XXXXXL robots in our Mini-Mof

How "Peter Principle" in Psychology Related to VFX Industry? Artists dedicate years mastering their craft whether it’s Roto,Prep,Matchmove Compositing, 3D department, or Animation. But what happens when that technical mastery suddenly translates into leadership roles? Peter Principle: For those unfamiliar with the Peter Principle, it’s a management theory that states employees tend to get promoted based on their performance in their current role, not on their potential to excel in the new one. In other words, people rise to the level where they’re no longer effective. The Peter Principle not only sets up talented artists for failure—it also hurts the entire team. A supervisor or lead who isn’t equipped to handle their role ends up slowing down the workflow, miscommunicating with artists, and making bad calls that ripple throughout the pipeline. So You were a killer Artist, right? Nailing those complex shots, cleaning up footage, solving problems that would make the average artist’s head explode. And for all that hard work, the studio decided, “Hey, let’s make this person a VFX Supervisor. What could go wrong?” Suddenly, your job is not about fine tuning your work, it’s about babysitting a bunch of artists who have their own creative opinions . You’re attending endless meetings with client who want everything.. Read the full article: https://lnkd.in/gSTzzm2Z #vfx #vfxindustry

**The Infinite Displays - VFX x A.I. Project 🙋♂️I've been working on this project off and on for the past few weeks. It's inspired by urban landscapes and the role Ad displays play in the aesthetics of the city. 🚀The main goal of this project was to build various procedural systems to create urban aesthetics by incorporating different modules. Each module is responsible for tasks ranging from image compositing to image and animation generation. 😎I’d like to emphasize that this is not a plug-and-play process. I'm not interested in video generation based on a simple text prompt. Instead, I'm trying to build an art-directable workflow that functions like a smart compositing application. There are many intricate steps involved in this process. Each step requires extensive knowledge of lighting, composition, VFX, and CG to create something truly profound. This is how I imagine the future of filmmaking would be. 🤿These shots were created with the help of CG elements, complex masking, and layered AnimateDiffs. Each shot involved many intricate steps to build a general animation based on previously built concept designs. 👩💻The initial composition of the shots and animations come from Houdini, but they are broken down and applied separately. This allows for the separation of moving pieces from static elements to give better control over their influence in the scene. The major components were separated and processed individually according to the goal of the shot. Trains, city commotions, and the billboards all come from different sources and have their own unique motions and purposes in the shot. Ultimately, they are created through one long, integrated process. 🎁Stay tuned for an upcoming video tutorial. Subscribe to newslounge.co for updates. Thanks, -Ardy -------------------------------------- 🤿 youtube link: https://lnkd.in/gAPjKE8V -------------------------------------- 👩💻 sign-up to our free newsletter: newslounge.co/subscribe #stablediffusion #houdini #animatediff #comfyui #facefusion #ElevenLabs #viggleAI #kreaAI #kitbash3d

ENDA Episode 05→ The time when the Endless Apprentice met the Grand Line of VFX (Part 2) Along with the existence of the Grand Line, there were other concepts that I learned during my training that motivated me more to start my journey. Concepts that seem so foreign that were almost impossible to learn properly in any of the 4 Seas and that could be possible to learn in the Grand Line of VFX: the VFX Haki, which is divided into 3 types: ➡️Observation Haki: a sixth sense to detect and analyze a shot thoroughly and that would let you know if it looks photoreal or not. Not even the smaller pixels, edges, or color issues could escape this Haki. However, be aware that this Haki is not instant, it requires constant practice to improve and reach the color of Observation of a VFX Supervisor. ➡️Armament Haki: if the Observation Haki lets you analyze the shot, the Armament Haki gives you to skill to work on it. In essence is the ability to reinforce your body or the tip of your tablet pen or mouse with the skills and knowledge you have acquired: rotoscoping, painting, color correction, keying, etc, and use them correctly to tackle any shot you may find. There will not be a difficult shot to solve with the right Armament Haki. Nonetheless, one more time this Haki as the Observation one requires constant practice and training to improve and reach the Armament Haki of a VFX Supervisor or even Senior Compositor. ➡️Supreme King Haki: more than a skill is the innate ability that would allow you to take the step from artist to supervisor: the ability to lead a team and have a presence in front of the bigger fishes in the industry. The difference with the other Haki is that it cannot be learned by anyone, only those with the will to reach the highest status in the industry and able to communicate well with others will be the ones that could reach the higher ranks in the Grand Line. Additionally, this one is mandatory to become a Lead or Supervisor. Any good artist will have the Observation and Armament Haki and could reach a Senior position and be comfortable. In fact, many artists decide to stay as Seniors because they do not want to handle the additional responsibilities of being a Lead or Sup and because they are happy with the result of their journey. However, if you decide to go higher than that, be aware that achieving will be harder than you expected, especially if you want to unlock the Supreme King Haki. In my particular case, I knew from the start of my journey that I was traveling only with my Devil’s Fruit power, which I knew wouldn’t be enough to pass the “Paradise.” That’s why, before my arrival, I looked for a place and, more importantly, someone who could teach me the fundamentals of the VFX Haki, and I found the place. It would be one year full of intensive training, but I knew it would be worth it. How were my experiences in the first part of the Grand Line since my arrival? Well, that’s for the next update.

AI is not about replacing artistry - its about enhancing it. Very proud to share 'Dear Dad', an animated short from Secret Level that I worked on alongside fantastic animators and storytellers Katya Vettorello Mark Wachholz Aashay Singh Stephane Benini Dale Williams Darri Thorsteinsson and directed by the one and only Jason Zada. Produced from start to finish in just two weeks, incredible thanks to Monica Monique for running the ship. I hear a lot of people worried that AI might become a replacement to creativity, but I think working on projects like this illustrate just how much AI enhances creativity, without delegating it to a computer. Traditionally a two minute animated short like this would have taken months to create and limitations in terms of budget and timelines often end up constricting the box with which ideas can play in. Instead, being able to dream up something in my head and have it reflected back to me in a matter of minutes only opens more doors for creative thinking and storytelling, it doesn't close them. 2025 is shaping up to be an incredibly transformative year for AI and animation. Lets see what the next few months bring. And if you're interested in learning more about integrating AI into your VFX and animation workflows, shoot me a private message. 📨 Thanks again to Secret Level for the opportunity! #ai #animation #secretlevel #pixar #generativeai #openai #kling #minimax

Rampage: Our Turbulent Start in Cinema with VFX and CGI Once upon a time, 16 years ago, we dove headfirst into our first cinematic adventure: Rampage by Uwe Boll. Armed with 3DS Max, Maya, and a hefty dose of naivety, we had no idea that November rain in “Raincouver” would literally soak us to the bone. We had meticulously planned every detail of the filming location. But as soon as we set foot on Canadian soil, we got the joyful news: the location had been moved! Perfect. With a laser measuring device rendered useless in the rain and a lot of improvisation, we got to work. Two days and several puddles later, we finally gathered the necessary data. Who needs functioning equipment when you have rubber boots and a good sense of humor? Using Mental Ray, we rendered the pictures and effects that we later pieced together in Nuke. Ultimately, we decided to recreate the entire scene digitally. We projected our footage onto geometry to obliterate the buildings in a spectacular explosion. But why stop at simple explosions? We went all in, adding fire and smoke with FumeFX. A bold decision, considering simulation and rendering times back then moved at a snail’s pace. But as the saying goes, nothing ventured, nothing gained! Our team in Germany, still wet behind the ears when it came to VFX on this scale, was sweating bullets. Coffee and Red Bull became our main sustenance, and sleep turned into a luxury. Yet, in the end, we pulled it off: our first cinematic appearance with VFX and CGI was in the bag. Looking back today, the VFX industry of that time feels like the Wild West, full of untapped potential. Every new piece of software felt like a shiny new toy, and the hardware left us in awe. Sure, a lot of it was grueling work that required real talent at the keyboard. Today, much of it is simpler but more tightly controlled by schedules and budgets. Back then, people asked if we could even do it; now, they just want to know how many shots we can deliver. What a world of difference. The result of those days still fills me with pride and joy. It reminds me of where it all began—despite the rain, broken equipment, and sleepless nights. And who knows? Filmmaking is evolving rapidly with AI. But we’ll never lose the thrill and adventure of shooting real films—and maybe blowing something up every now and then! #VFX #CGI #FilmProduction #Cinema #Experience

💡 Do you know who is responsible for adding that special touch to movie scenes, like glowing powers in a character's eyes? It's not magic, it's the work of a compositor! In the VFX (VISUAL EFFECTS) area, the compositor is just one of many professionals involved. Others include the 3D Artist, who creates models and animations in three dimensions; the FX Artist, specialized in particle and fluid simulations; and the Roto Artist, who isolates characters and objects to integrate digital elements into the scene. 🌟 📌 Important! VFX, FXA, and special effects are not roles, but AREAS with various positions: VFX (VISUAL EFFECTS) covers roles such as compositor, FX Artist, 3D Artist, and Matchmove Artist. These professionals create digital effects that blend seamlessly with live-action. FXA (EFFECTS ANIMATION) is also an AREA, focusing on animating effects like fire, water, smoke, and magic, with positions such as Effects Animator and Simulation Artist. SPECIAL EFFECTS (FX), on the other hand, deal with practical effects on set. A key position in this AREA is the Special Effects Supervisor, who coordinates real explosions, physical sets, and mechanical effects directly during filming. 🎨 And of course, there are other AREAS in the visual world: Motion Design involves animating graphic elements like text and logos, often seen in commercials and explainer videos. 2D Animation focuses on creating characters and environments in two dimensions, using both traditional and digital techniques. Each of these AREAS is vital in creating incredible visual content, with specialized roles in each. Which AREA would you like to specialize in? 👀 #VFX #SpecialEffects #MotionDesign #FXA #FX #Audiovisual #TV #MovieTheater

Hello LinkedIn Family, Today, I want to share a story that has troubled me a lot over the past week. I've always loved gaming because of its animations and how they are becoming more realistic every day. I spent many years playing games because I loved their stories and creativity. I started learning and created a YouTube channel for my videos. I began making voice-over videos in 2018, but I didn't get popular because my content wasn't very engaging. I started to learn skills like VFX and CGI, which means adding realistic objects and animations to videos. I started making videos about this in 2019. They didn't get much attention, so I began recording myself too. Some videos took over a month to make due to VFX & CGI. Despite all the hard work, I wasn’t getting many views on YouTube. Three years passed, and I still hadn't hit 1,000 subscribers until 2024. But I didn't stop because I love this process. I started enjoying it even though it was hectic, but I was satisfied. I learned Adobe Premiere Pro for editing, Adobe After Effects for VFX, and Blender for CGI. Then, suddenly, AI came along, and the world started changing. Artists became worried because there was a risk of losing their jobs or tasks to AI. I was one of them. As soon as I started using AI, it helped me a lot in many ways. Then I made some videos on politics and was shocked to see the results. I got more than 500,000 views, and my channel boomed in 2024. Soon, I was about to hit 4,000 subscribers. I know 4,000 subs isn't a big deal, but for me, it's very special as I spent the last four years of my life making videos. Now, ups and downs are part of life. I was about to experience something bad. On April 19th, I woke up as usual and checked my channel's analytics. I got logged out from all devices. At that moment, I got very worried. I tried to log in with my password and was shocked to see that my password had been changed an hour ago... For a while, I didn’t know what was happening around me; my heart was pounding. I was hacked and was in a huge depression because I had spent more than four years of my life on this channel. I gave priority to everything, but then suddenly it was gone. The hacker made some violations, and YouTube then deleted my channel. I was losing all hope. After some research, I came to know that YouTube replies on Twitter. I tweeted, and YouTube replied to me. In 2-3 days, YouTube gave my channel back to me after verification. I was very happy to get my piece of heart back and witnessed that hard work can't be lost. I want to thank YouTube for supporting me during this difficult time. The purpose of this post is to make you guys aware of phishing and hacking. It's very dangerous, and anyone can fall prey to it. Don’t click on any suspicious links and don’t trust fake websites. It was a very difficult time for me, but I learned many things from this incident. Also, here is the link to my YouTube channel if you want to visit: https://lnkd.in/d42dNXRx

Rampage: Our Turbulent Start in Cinema with VFX and CGI Once upon a time, 16 years ago, we dove headfirst into our first cinematic adventure: Rampage by Uwe Boll. Armed with 3DS Max, Maya, and a hefty dose of naivety, we had no idea that November rain in “Raincouver” would literally soak us to the bone. We had meticulously planned every detail of the filming location. But as soon as we set foot on Canadian soil, we got the joyful news: the location had been moved! Perfect. With a laser measuring device rendered useless in the rain and a lot of improvisation, we got to work. Two days and several puddles later, we finally gathered the necessary data. Who needs functioning equipment when you have rubber boots and a good sense of humor? Using Mental Ray, we rendered the pictures and effects that we later pieced together in Nuke. Ultimately, we decided to recreate the entire scene digitally. We projected our footage onto geometry to obliterate the buildings in a spectacular explosion. But why stop at simple explosions? We went all in, adding fire and smoke with FumeFX. A bold decision, considering simulation and rendering times back then moved at a snail’s pace. But as the saying goes, nothing ventured, nothing gained! Our team in Germany, still wet behind the ears when it came to VFX on this scale, was sweating bullets. Coffee and Red Bull became our main sustenance, and sleep turned into a luxury. Yet, in the end, we pulled it off: our first cinematic appearance with VFX and CGI was in the bag. Looking back today, the VFX industry of that time feels like the Wild West, full of untapped potential. Every new piece of software felt like a shiny new toy, and the hardware left us in awe. Sure, a lot of it was grueling work that required real talent at the keyboard. Today, much of it is simpler but more tightly controlled by schedules and budgets. Back then, people asked if we could even do it; now, they just want to know how many shots we can deliver. What a world of difference. The result of those days still fills me with pride and joy. It reminds me of where it all began—despite the rain, broken equipment, and sleepless nights. And who knows? Filmmaking is evolving rapidly with AI. But we’ll never lose the thrill and adventure of shooting real films—and maybe blowing something up every now and then! #VFX #CGI #FilmProduction #Cinema #Filmmaking

VFX WTF QUOTES 041323 - 1 of 2: "Seriously, how hard it is to learn what an Alpha is?" Just when I thought this series of posts was out of steam, a couple of folks mentioned a couple more. This quote (which I copied word-for-word) was a response to a discussion of why Roto was important, and how it is important to create an Alpha channel. I had two takeaways from the quote: 1- The content of the quote communicates the opinion that Roto and Alpha channel creation are simple jobs. 2- The tone of the quote implies that no one should spend more than a few minutes to explain it or learn it. In my studies of VFX Roto, I found that you can explain Roto in a simple way but the studies and practices of Roto are vast, largely misunderstood or under examined. Lastly, this dismissive mindset of Roto could be used against other disciplines of VFX. What's so hard about [add VFX discipline here]? What's so hard about Tracking? What's so hard about Animation? What's so hard about Compositing? And once this devaluation of any of our disciplines becomes normalized, then people could attach a bid associated with that perceived value. If VFX people undervalue other VFX people, then its not a stretch of imagination to see people outside VFX undervaluing us. "Can I get the VFX for a dollar? And can I get unlimited versions? SERIOUSLY how hard can it be?" Speak up VFX Roto Professionals! What are your thoughts?