Blend up to 11 nearby frames together, while preserving all detail
VectorFrameBlend can average/median/min/max/plus up to +- 5 frames with full motion awareness. Compared to the last version or other similar solutions, I built it as technically correct as possible and it provides thorough settings to improve the filtering quality and edge cases (literally).
You can also use the ‘External’ mode and connect the ‘vec’ input to another VectorFrameBlend, to use its internally generated vectors.
This can be useful, if you want to analyse a certain layer (for example a diffuse color pass that holds a lot of clean details), but apply the frame blending on somewhere else. Apart from that, the tool can of course be used on live action plates, utility passes or whatever comes to mind.
The prevalence of myopia is increasing rapidly, with projections indicating that by 2050, around half of the global population could be affected. This surge is largely attributed to lifestyle changes, such as increased time spent indoors and on screens, and decreased outdoor activities, starting with the Covid lock down.
To combat this epidemic, researchers are advocating for more outdoor exposure for children, as natural light is beneficial in slowing the progression of myopia. They also emphasize the importance of regular eye check-ups and early interventions. Additionally, innovative treatments such as specially designed contact lenses and low-dose atropine eye drops are being explored to manage and reduce the progression of myopia.
You’ve been in the VFX Industry for over a decade. Tell us about your journey.
It all started with my older brother giving me a Commodore64 personal computer as a gift back in the late 80′. I realised then I could create something directly from my imagination using this new digital media format. And, eventually, make a living in the process. That led me to start my professional career in 1990. From live TV to games to animation. All the way to live action VFX in the recent years.
I really never stopped to crave to create art since those early days. And I have been incredibly fortunate to work with really great talent along the way, which made my journey so much more effective.
What inspired you to pursue VFX as a career?
An incredible combination of opportunities, really. The opportunity to express myself as an artist and earn money in the process. The opportunity to learn about how the world around us works and how best solve problems. The opportunity to share my time with other talented people with similar passions. The opportunity to grow and adapt to new challenges. The opportunity to develop something that was never done before. A perfect storm of creativity that fed my continuous curiosity about life and genuinely drove my inspiration.
Tell us about the projects you’ve particularly enjoyed working on in your career
🔸 Gaussian Splats: imagine throwing thousands of tiny ellipsoidal paint drops. They overlap, blend, and create a smooth, photorealistic look. Fast, great for visualization, but less structured for measurements.
🔸 Point Clouds: every dot is a measured hit. LiDAR or photogrammetry gives us millions of them forming a constellation of reality. Amazing for accuracy, but they don’t connect the dots out of the box.
🔸 Meshes: take those points, connect them into triangles, and you get very realistic surfaces. Strong for 3D analysis, simulation as continues watertight models.
