Terminator Salvation by Imaginary Forces / Jeremy Cox

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Treated studio logos that appeared before Terminator Salvation, produced by Imaginary Forces.

Creative Supervisor/Designer: Karin Fong
Lead Animator/Designer: Jeremy Cox
Producers: Cara McKenney, Kathy Kelehan
Project Manager: Steven Giangrasso
Inferno Artist: Rod Basham
Coordinators: Heather Dennis, Kim Dates

Point cloud research:

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Jeremy Cox notes "Research for sequences in Terminator Salvation. We used the Bumblebee 2 stereoscopic Camera from Pt Grey Research. The first clip is a screen capture of the software bundled with the camera, and the rest are renders from After Effects using Trapcode Form."

Machine Vision Montage:

Terminator Salvation Machine Vision Montage from Jeremy Cox on Vimeo.

Read more about this work here.

Imaginary Forces website


Vortex.A - generative art for iPad / iPhone / iPod


Vortex.A - touch-interactive generative art. I am experimenting with fluid dynamics: how liquids and gases behave - a classically difficult problem in physics/maths. Most agree that fluid dynamics is described by the Navier-Stokes differential equations. There is no known all-case solution for the equations, but there are solutions for specific cases and approximative methods to find numerical solutions.

I'm experimenting with my own approach and it is making some pretty promising animations. This app visualizes the flow by emitting particles where you touch the screen (multi-touch works) and the fluid itself is also affected by touch. The lines are so called "pathlines" that trace the particles' paths over time.

I'm polishing the technology and hoping to bring it to VFX/motion graphics artists as a tool for fluid dynamics animations in the future.

The price is 99 cents and it's available in AppStore.

Check out's article, contains video! Or proceed to view video on Vimeo. Or, if you have flash, check out the video below (note that this video is from iPhone, on iPad it looks different)



ASCENSION by Chris Lavelle

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Breathtaking piece by Chris Lavelle. It has many parts with totally different looks and feelings. Uses Trapcode Sound Keys to drive Trapcode Particular. The integration between Particular v2's new shading and Lux is shown well.

UPDATE: Chris Lavelle interview regarding this piece on Directors Notes


Chew Lips "Slick" by Gregory de Maria / Resident Creative Studio


Chew Lips 'Slick' from Gregory de Maria on Vimeo.


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Chew Lips "Slick" music video by Gregory de Maria / Resident Creative Studio.

A wonderfully mystical psychedelic all-CG music video.

Greg notes "My team and I used a lot of Particular FX to achieve the look".


Your weakness is your strength

I heard this many years ago in an interview on TV:

"Your weakness is your strength"

I didn't understand it, it just sounded like nonsense. But the phrase stuck with me for some reason, and after a long time I began to understand it. And in looking back, my weakness is what has defined my work all along. The parts I didn't know, the parts I had to work-around is what came out the most rewarding. Most times we do not know we are compensating for some weakness, we just work until we are happy with the result. I'm suggesting that what really goes on when we are working is weakness being transformed into strength. Here I'd like to take this idea a step further and suggest using "not-knowing" as a creative tool.

Let me take a practical example. When I was developing the original 1.0 version of Trapcode Particular I wanted to add shading from composition lights. But I didn't know how to implement shading, so I started to investigate it. I realized that to understand shading I needed to understand light. Fully. In trying to understand the maths of light I "accidentally" created Trapcode Lux. Without my "not-knowing" of how light worked mathematically I would never have created that plug-in. Had I just looked up in my old CG textbook the formulas of shading, I wouldn't have gone there. 

There is in fact great value in "not-knowing", investigating and experimenting. I totally understand that with looming deadlines this is just not possible. But I want to encourage you, when you do have the time, to make your own investigation of the subject matter. You never know what great stuff may come out of it. 

And regarding copying: that is how we naturally learn new things. We see things that resonate and we try to replicate, to mimic. But it is the failure of copying exactly that becomes the personal touch, the original part. In this sense, weakness becomes strength.

So, in essence, I want to suggest this method as a creative tool at your disposal; that when you need to do something, rather than looking for a formula or tutorial for it, you can try on your own. But when you don't have the time to experiment, or feel lost or uninspired, or just don't want to, there is of course nothing wrong with using a formula.

Peder Norrby / Trapcode