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September 7, 2016

 

17TH INTERNATIONAL VFX & COMPUTER GRAPHICS CONFERENCE  24-28 Oct. 2016 ·  Torinoincontra, Turin, Italy

For more information about the VIEW Conference and VIEWFEST, please visit the website: http://www.viewconference.it 

 

Full program can be viewed here: http://www.viewconference.it/docs2016/VIEW_CONFERENCE_2016_PROGRAM_EN.pdf

 

2016 marks the 17th anniversary of the VIEW conference, which brings top professionals in the animation, visual effects, game development, and overall computer graphics industry to Torino, Italy. Speakers at previous conferences have included Oscar winning directors, sound designers, screenwriters, game designers, musicians, visual effects supervisors, and researchers.

This year, we’re proud to announced that Mike Mitchell and Walt Dorhn, directors of Dreamworks Trolls and Byron Howard, director of Disney’s blockbuster animated film Zootopia will keynote the conference as will producer Brad Lewis, who will present the animated film Storks for the first time in Italy. In addition, Conrad Vernon, director of the surprise hit Sausage Party, Victoria Alonso, EVP at Marvel Studios, Roger Guyett, Overall VFX Supervisor for Star Wars: The Force Awakens, and legendary computer graphics professor Dr. Donald Greenberg of Cornell University will give keynote addresses. Dr. Greenberg will address virtual reality, the hottest topic this year, in his keynote address.

VIEW is enormously proud that many other top professionals will also be speaking during the five-day conference. Audrey Ferrara from MPC in London is presenting The Jungle Book. Audrey led the team that created the jungle, which was entirely and always CG. VFX supervisor Steve Emerson and screenwriter Marc Haimes are coming from Laika studios to present the extraordinary Kubo and the Two Strings, one of the most beautiful stop motion films ever created. Sharon Calahan from Pixar, a director of photography and recent inductee into the cinematography branch of the Academy of Motion Pictures Arts and Sciences will share the visual design for the painterly realism in The Good Dinosaur in a talk and a workshop. Also from Pixar, John Halstead will introduce Hank the remarkable seven-legged CG octopus from the popular Disney/Pixar film Finding Dory to Italian audiences.

Especially exciting this year is VIEW’s exploration of the hottest area of computer graphics right now: Virtual Reality. Dr. Greenberg, whose research is supported by Oculus, Pixar, DreamWorks, Microsoft, Intel, , Valve and Autodesk, and with government funding, has titled his keynote address, “VIRTUAL REALITY – What’s necessary to make it real?” Maureen Fan, CEO and Co-Founder of the well-funded Baobab Studios looks at storytelling in VR through her studio’s short film, “Invasion,” which has been accepted at traditional animation festivals. Lucasfilm CTO Rob Bredow shares Industrial Light & Magic’s adventures in immersive cinema through that studio’s VR research center, ILMxLAB. Brian Pullen, VR designer at Google introduces Daydream, Google’s new high-end mobile VR platform. Luke Youngman, executive producer and Felix Massie, director at Nexus bring Google Spotlight Stories to VIEW. Tuna Bora, production designer for Oscar winning Patrick Osborne’s Spotlight Story “Pearl,” talks about designing in this new medium. And, Pratik Shah, a research scientist at MIT’s Media Lab showcases the use of VR in medicine.Other speakers at VIEW 2016 include David Freiss, director of Open Season: Scared SillyRyan Tudhope, vfx supervisor for Deadpool; Troy Saliba, animation supervisor on Alice Through the Looking GlassJosh Holmes, Creative Director for 343 Industries, Chris Perry, short film director and associate professor at Hampshire College; Adam Gazzaley and Matt Omernick from Akili; Daryl Anselmo, art director at Zynga; Adam Orth, creative director at Three One Zero; Siobhan Reddy, studio director at Media Molecule; Barry Meade, co-founder of Fireproof Studios; Adam Volker, creative director a Moonbot Studios; Daniel Fountain, puzzle designer at State of Play, and others yet to be announced.

One of the things that makes the VIEW conference unique is the participation throughout the week by the speakers, whether keynote speakers or those giving talks. The conference is organized so that the speakers can attend most of the talks as an audience member, and they do, which provides a depth of interaction among speakers and audience members that’s unique. Plus, many speakers give attendees the opportunity to learn from them in interactive workshops. Keynote speakers Byron HowardConrad Vernon, and Dr. Greenberg, for example, are among those offering workshops, a rare chance for students and professionals to learn from such highly successful and in-demand professionals.

Adding to the list of workshops are those from speakers Sharon Calahan on storytelling with light, David Feiss on storyboarding, and Troy Saliba on animation posing and composition. J. C. Cornwell will offer portfolio reviews and Alex Williams, head of animation at Escape Studios will leads a 3D Animation “Taster.”

In addition to the program of talks and workshops, this year for the first time, VIEW has stepped into the world of start-up incubation by offering game developers the opportunity to accelerate their investment potential. Five applicants will be selected by a team of experts and investors to participate in a virtual two-week program leading to the VIEW conference where they will attend a four-day bootcamp ending with a “pitch party” to investors.Leading into VIEW is the annual digital movie festival VIEWFest, showcases an exciting program of animated films and talks including the Italian premiere of Laika Animation’s Kubo and the Two Strings presented by visual effects supervisor Steve Emerson. SIGGRAPH 2016 Computer Animation Festival, Jason RM Smith will present the Italian premiere of the SIGGRAPH 2016 Traveling Electronic Theater. Also screening at VIEWFEST is Pixar’s animated short film “Piper,” Oscar-winner Patrick Osborne’s new VR short animation, “Pearl,” and Baobab’s VR short animated film, “Invasion!”

VIEWFEST takes place October 21 to 23 in Torino’s Cinema Massimo, the famous landmark, the Museo Nazionale del Cinema’s (Cinema Museum) theater.

VIEW Conference takes place October 24 to 28 in the city’s Torinoincontra, conference center.Torino is the capital city of the Piedmont region, which is famous for Barolo wine and white truffles and is known as the heart of the slow food movement. Situated on the western bank of the Po River and in the foothills of the Alps, Torino is filled with beautiful baroque, rococo, neo-classical, and art nouveau buildings and arcaded walkways. Old cafes and chocolatiers line Torino’s boulevards and grand piazzas. Some of Italy’s best universities, colleges, and academic institutions are located here, as are numerous art galleries, churches, palaces, parks, gardens, and  the most important Egyptian museum outside Egypt. Founded in the first century B.C. as a Roman colony, Torino is now ranked third after Rome and Milan for economic strength. It was Italy’s first capital city.

August 4, 2016

GOLDCREST POST DELIVERS JASON BOURNEPOST PRODUCTION WITH DAVINCI RESOLVE STUDIO

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Manchester, United Kingdom - August 3, 2016 - Blackmagic Design today announced that Goldcrest Post London used DaVinci Resolve Studio to complete the edit, color grade and HDR finishing for Universal Pictures’ “Jason Bourne,” in which Matt Damon returns to his most iconic role. The film is currently in cinemas.

For the feature, the Goldcrest team provided full post production services for director Paul Greengrass, with Sinéad Cronin and Rob Pizzey, respectively, delivering the online edit and grade. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.”

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Cronin explains that the seamless DaVinci Resolve Studio workflow was critical. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline.”

Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey already had an extensive understanding of how the team wanted to use the grade to enhance the action. “In ‘Jason Bourne,’ there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains.

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“Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.”

The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.”

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The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete story telling device,” concludes Pizzey.

PRESS PHOTOGRAPHY

Product photos for DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com.

ABOUT JASON BOURNE

Matt Damon returns to his most iconic role in Jason Bourne. Paul Greengrass, the director of The Bourne Supremacy and The Bourne Ultimatum, once again joins Damon for the next chapter of Universal Pictures’ Bourne franchise, which finds the CIA’s most lethal former operative drawn out of the shadows. For Jason Bourne, Damon is joined by Alicia Vikander, Vincent Cassel and Tommy Lee Jones, while Julia Stiles reprises her role in the series. Frank Marshall again produces alongside Jeffrey Weiner for Captivate Entertainment, and Greengrass, Damon, Gregory Goodman and Ben Smith also produce. Based on characters created by Robert Ludlum, the film is written by Greengrass and Christopher Rouse www.jasonbourne.com.

ABOUT BLACKMAGIC DESIGN

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

 

May 28, 2016

Enter the 2016 Sci-Fi Film Festival Competition Now!

Over $10,000 in Cash and Software prizes!

 

FILM SUBMISSION DEADLINES: April 18, June 15th, August 8th

Read more about it here: http://theatlantascififilmfestival.com/competition.html

Click Below to enter

FilmFreeway or Withoutabox


April 28, 2016

FOR IMMEDIATE RELEASE

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Free Editing & Visual Effects Software Released for YouTube Creators

NORWICH, UK, April 28th, 2016 - FXHOME (hitfilm.com) today released all-in-one video editing and visual effects software HitFilm 4 Express (hitfilm.com/express), designed to enable a new generation of online creators. Available for free, its powerful technology gives YouTubers the ability to make bigger and better content than ever before; from music videos and Let’s Play videos to action movies with blockbuster-quality visual effects.

It used to be time-consuming and difficult for filmmakers to create amazing content and share it with the world. HitFilm 4 Express gives the YouTube generation the best tools and all the help they need to get started. After bringing on board hundreds of thousands of users since last July alone, HitFilm has become one of the fastest growing video editors in the world. Whether creators are looking for an editor, a visual effects toolkit or a supportive creative community, they start with HitFilm 4 Express.

We love YouTubers and the creativity they embrace,” says Josh Davies, Founder and CEO of HitFilm. “We want to make sure that it’s easier for the next generation to tell their stories than it was for the last. Anyone can start their journey with us and go on to join the new wave of talented and inspirational YouTube creators. We just want them to make something cool.

The new HitFilm 4 Express has been designed from the ground up to run on almost any computer; from consumer laptops to hardcore gaming rigs. Much more than just a powerful editor, HitFilm 4 Express also includes professional animation tools, speed controls and over 140 advanced effects such as lightning, smoke and explosions. HitFilm 4 Express has everything a creator needs to get started, but also offers flexibility through a useful set of optional expansion packs with additional powerful features and effects.

Top users of HitFilm have gone on to define the new generation of over 50 million online creators. These include RocketJump co-founder and TV star Freddie Wong (rocketjump.com), indie filmmaking experts Film Riot and viral YouTube superstars Corridor Digital. Together they have over 2 billion views and have inspired countless numbers of young creators to make their own content.

HitFilm 4 Express exists to empower emerging filmmakers and creators as they follow in the footsteps of their content heroes and begin their own story.

In ten years we’ll be hearing the great filmmakers of the day talking about how they started on HitFilm” - Ryan Connolly (Film Riot)

HitFilm 4 Express is available for download  (hitfilm.com/express) for both Mac and PC.

Minimum requirements are:

·         Mac OSX 10.9 Mavericks, 10.10 Yosemite and 10.11 El Capitan

·         64 bit Windows Vista, 7, 8, 10


 April 11, 2016

iToo

iToo Software releases Forest Pack 5 and RailClone 2.6: It’s all about speed.

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iToo Software announces a significant update to both plugins, with a totally revamped image plus a new website.

Cádiz (Spain). April 11, 2016.­ iToo Software is proud to announce the release of Forest Pack 5 and RailClone 2.6 with a host of brand new features and fixes to improve speed, increase usability and make both plugins even more flexible. In addition to the release, iToo Software launches a whole new website, unveiling a fresh new image.

This is the first time the Spanish company is simultaneously releasing an update for both plugins, and there is an impressive list of shared features. Highlights include support for V­Ray 3.3 with significant speed improvements of between 40 ­ 100% in beta tests, and new toolbars and listers to help users to create, edit and manage multiple Forest Pack and RaliClone objects from a simplified easy­to­read interface, making it easier than ever to work quickly with large scenes.

That’s not all, additional features included are:

Get perfect edges.

Edge mode is now compatible with Corona and Mental Ray, in addition to V­Ray.

Stay organised. 

New Forest Pack and RailClone toolbars with shortcuts to add Forest Pack objects, add Forest Level Of Details, open Forest Tools, open Forest Lister, add RailClone objects, open RailClone Tools and open RailClone Lister.

Make Forest Pack your own.

Extend the plugin with new functionality, anytime, with the new Forest Effects feature. A scripting engine based on mathematical expressions that are applied to the scattered items, Forest Effects offers limitless possibilities for controlling animation, transforms, colouring, and more.

Organise Effects.

The Forest Effects Browser allows you to quickly load and manage effects files, Forest Pack 5 ships with 12 effects including lean out, tint by boundary, scatter on displaced surface, repulsion, stepped rotation, look at with falloff and much more. New effects can be added to the library at any time or loaded directly into a Forest Pack object from a shareable file.

Ready to go.

New and improved libraries including Mulch and Rug presets in Forest Pack 5.

On the move.

Motion blur and V­Ray velocity channels are now supported with animated proxies and meshes.

Organize Chaos.

Clusters and Diversity now respects items with the same Colour ID.

Add detail.

Forest Pack and RailClone support VRayEdgesTex map to chamfer edges at render­time for both meshes and proxies.

Render anywhere.

Maxwell materials added for Lawns, leaves, meadows and stone presets.

One­click optimization.

Forest Edge and V­Ray normal maps are now added automatically using the Material optimiser.

Everything is wrapped up in a brand new product image and website. Daniel Quintero, CEO says of the release, “Building new versions of both plugins and a new website at the same time has been a tremendous amount of work. But looking back, the effort has been worthwhile. We have high hopes that the new site will serve as a meeting point for all our clients, who want the latest news, support, tips and a thriving community for the world of scattering and parametric modelling”

As usual, a Lite version of this release is freely available to download and use commercially, as well as release notes, both on iToo Software new website and forum.

About iToo Software:

iToo Software, founded in 1999 in Spain, is a 3D software development company, creators of Forest Pack® and RailClone®, plugins for Autodesk 3ds Max®.

Demo reel for this release available at https://vimeo.com/161608192

For further info, please contact marketing@itoosoft.com


 March 30, 2016

Intelligent Creatures Uses Blackmagic Design’s Fusion Studio on “The Witch”

 Fremont, CA - March 30, 2016 - Blackmagic Design announced today that Intelligent Creatures used Fusion Studio on the highly acclaimed horror film “The Witch.” Led by Compositing Supervisor Eric Doiron and VFX Supervisor Geoff Scott, the Toronto-based post house used Fusion Studio as its main software for all of the film’s VFX. In addition, Intelligent Creatures used DaVinci Resolve Studio to pull VFX plates and do selective color grading during its VFX sequences.

“The Witch” is a supernatural indie thriller that first made waves at the Sundance Film Festival 2015, where writer and director Robert Eggers won Best Director in the U.S. Dramatic category. The suspenseful film tells the story of a 17th Century Puritan family that leaves their community and ventures into the unknown of New England. Tragedy begins to befall the family and suspicions of witchcraft grow as unsettling events happen in the woods surrounding the family’s farm.

Doiron, Scott and the team at Intelligent Creatures helped create the eery New England folk tale that was recently released by A24. Whether it was correcting and capturing the spirit of Black Phillip, the goat at the center of some of the family’s supernatural happenings, or creating the occult elements of the film’s final climatic scene, Intelligent Creatures used Fusion Studio to enhance the film through VFX.

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“'The Witch’ was a fun project to work on because we got to really play up some of the spookiness,” said Doiron. “We added supernatural elements to the film to fully capture the dark spirit of witchcraft and the accompanying paranoia of the times.

“For example, we added levitation to a scene using Fusion Studio’s rotoscoping, paint and keying tools. With one plate shot on location and the other on a blue screen stage, we used standard wire rigs as well as a jib rig to lift and rotate things simultaneously. We used Fusion Studio to key each of the six levitating objects and perform extensive wire and rig removal and blue screen composites. In some cases Fusion Studio’s grid warp tool was used to animate patches of skin over the rigs.”

We also used Fusion Studio in a pivotal scene that involved an actor being hit by a cascade of logs. We started with a plate of logs falling onto a dummy which allowed us to get a natural interaction of the logs hitting, bouncing off and coming to rest. We then filmed a clean plate of the actor leaning against the pile and reacting. Using Fusion Studio, we painstakingly rotoscoped each of the falling logs to combine the two plates. Black Phillip was in the scene as well, so we filmed a plate of the goat whose lead and handler had to be removed and then used Fusion Studio's paint and roto tools to composite the goat into the final shot. Then the finishing touch was a gash and blood trickle on the actor’s forehead to really sell the impact.”

Additionally, Intelligent Creatures also used DaVinci Resolve Studio for select color grading on some of their VFX sequences.

“Fire was at the center of the levitation scene and we needed to use DaVinci Resolve Studio to balance it. The scene was shot with practical fire to get natural interactive lighting. While this was invaluable to get the look right, it proved difficult in the comp since the levels were constantly changing due to the flicker. Ultimately, we had to remove the interactive flicker and then add it back in through DaVinci Resolve Studio,” said Doiron. “That, along with using Fusion Studio to add smoke and atmosphere, really enhanced the scene and its spook factor.”

Press Photography 

Product photos of Fusion Studio and DaVinci Resolve Studio are available at www.blackmagicdesign.com/press/images.

About Blackmagic Design 

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

About Intelligent Creatures

Intelligent Creatures is an artist-driven Visual Effects house dedicated to helping some of cinema's finest directors tell some of their most compelling stories. With a fully integrated 2D compositing and 3D animation pipeline and a wealth of on set experience, the company stands among the industry's most progressive VFX creators. Intelligent Creatures relentlessly pursues its mission to be the leading company in the world providing Visual Effects that play a strong supporting role in high-end, creatively driven feature films.

Working on such films as London Has Fallen (2016), The Witch (2016), Battle Los-Angeles (2011), Watchmen (2009) and the BBC America breakout hit Orphan Black. For more information, please go to http://www.intelligentcreatures.com.


March 23, 2016

Cebas thinkingParticles 6 : Cache it out with our new Subscription Drop 3

Cebas Visual Technology is pleased to announce thinkingParticles latest Subscription Drop 3 update now available on instant download to all our most valued Subscribers.

To download, please check for updates using your Product Manager cba3.exe

New Caching Options and Methods with dramatic speedup:

Once again in response to user’s requests, Cebas thinkingParticles 6, Subscription Drop 3 is all about more powerful new features and enhancing the particle cache workflow and structures.

A new frame based particle cache file system has now been developed allowing for the storage of a cache file per frame step (TPC). This is in contrast to the already existing single file particle cache system (TPS). Cache write and read times have been dramatically improved in Subscription Drop 3 for all file cache operations. Writing a cache file is now up to 10 times faster than before; this means the disk transfer functions have been optimized by a wide margin. The following enhancements in detail are listed below:

1. Per Frame Caching option thanks to the new *.tpc format, with enhanced sub-sampling option for output.
2. Selective Cache Channels; each particle cache file can be adjusted individually for its data to be output.
3. Hierarchy particle cache manager: adjust and control cache stacking in an easy and efficient way.

To accommodate for the new particle caching features in thinkingParticles the Max Scripting functions has also been extended to cover more file caching related stuff.

New Implicit Surfacing Options

thinkingParticles 6.3 offers two highly advanced algorithm options to create an ISO surface. Surface (6.3) brings a new method to thinkingParticles allowing for the creation of flat surfaces out of point clouds. It's the perfect tool for creating surfaces for liquids with a smooth and even surface. To learn more, refer to the online manual.

New Fluid Solver Options

thinkingParticles SPH based fluid solver has been enhanced in Subscription Drop 3. A new algorithm option has been added to the rollout menu; the new SPH2 method offers a much more improved and stable method to create fluids that are under larger pressure and bigger sub frame steps. While the first generation of fluid solver is still available to choose from and it offers the same great features as before; the new solver algorithm adds just more punch to the arsenal of fluid simulation effects available within thinkingParticles. It is suggested to use the newer incarnation of the fluid solver from now on, the previous method is mainly kept for compatibility reasons.

More New Features in Drop 3

Direct Alembic Import:  thinkingParticles now supports direct file import of Alembic *.abc files, both pure Alembic particle files as well as mesh-based files. Alembic is an open source format widely used by large and medium sized studios around the world. Alembic is slowly becoming a standard file exchange format between different applications.

Direct Alembic Export: likewise, AlembicExport is a new export node offering *.abc file export functionality. Many of the Alembic file format features are directly supported by this node. Particles as well as meshes can be exported in one go. Alembic export can be done either in one single file including many particle groups or in multiple files containing individual particle groups. The exported files may contain a particle system (particle points, no meshes), an object per particle group or each particle is stored as one individual object (mesh). For particle system exports, the AlembicExport node allows for the selection of specific data channels to be exported (e.g. velocity, spin, age ...).

New Particle Group Right Click Menu Option: Right-Clicking on any particle group name will now bring up an new context sensitive menu. For each particle group name clicked, a list of Operators using or referencing this particle group will be listed. Further clicking on the Operator names will automatically bring up the relevant DynamicSet in question. This feature works great for debugging complex DynamicSet setups containing hundreds of nodes, and help speed up work tremendously.

Render Resets Simulation - this new feature allows for quick and easy rendering adjustments of materials and light. Instead of re-simulating the whole particle system over and over again when rendering a single frame; thinkingParticles can now take the information as seen in the modeling viewport from that exact frame as set with the frame slider in 3ds Max.

Enhancements of 6.2 Features in Drop 3

Besides adding new methods to the Implicit surface operator, some work has gone into enhancing the overall processing time and stability of the surface operator.

The PositionBorn operator received some loving attention in the form of an enhanced random particle distribution when emit distance is used.

Bullet Physics has been updated as well: Bullet Rope; BulletRopeData;

BulletRopeImport was missing the Margin parameter and all these are now fixed.

Another area that saw enhancements is the VolumeBreaker operator; helper object are now animatable and they are updated correctly.

The LayerToParticle operator got an overhaul which results in a general speed improvement.

To accommodate for the new particle caching features in thinkingParticles the Max Scripting functions is now extended to cover more file caching related stuff.

A small issue has been found in the PPassAB operator whereby the Particle Shape uses the wrong size. This is now fixed.

The Math operator had an issue with the Matrix Composition function and did not work. This is now fixed.

And a brand new enhancement to fluids: they will now work with the Freeze operator. Fluids can be frozen in time and released in time.

The Bullet vehicle operator will now work with the path follow even without a particle input.

Video Tutorials for tP 6.3
Please access https://www.youtube.com/user/cebasVT on March 22 for the latest tutorials pertaining to the release of 6.3. News media who wishes to publish the news of our latest thinkingParticles 6, Drop 3 may request for a direct video channel link by March 21 (Monday).

cebas VISUAL TECHNOLOGY Inc. Suite 2202B – 4464 Markham Street
Victoria, BC V8Z 7X8, Canada
USA: +1 323 774 1799
Canada: Main office:+1 250.590.2913
http://www.cebas.com

January 20, 2016

 MPC_Logo

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MPC REVEAL SEAMLESS VISUAL EFFECTS WORK FOR “SPECTRE”

For SPECTRE, the 24th James Bond adventure, from Albert R. Broccoli’s EON Productions,
Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment, MPC completed around
300 stunning VFX shots. Led by MPC VFX Supervisor Mark Curtis and Producer Laura Schultz,
MPC’s global team worked closely with director Sam Mendes and Production VFX Supervisor
Steve Begg, covering three key sequences in the snowy Austrian Alps and the deserts of
Morocco.

MPC Vancouver’s team completed visual effects for the Alpine sequence, which featured two
key digital assets: the villain’s mountaintop lair and Bond’s snow-plane. The mountain eyrie
took its inspiration from an existing building in Solden called the Ice-Q; this cubist styled
glass building was expanded and reconfigured to form a larger cross-shaped structure that
would sit atop a CG restructured mountain peak. Being made primarily from glass, this
building reflects the stunning panorama of surrounding mountains, and as such, required
MPC to build not only a digital model of the structure itself but all of the surrounding valleys
and mountains. The final product is a beautiful and iconic piece of Bond architecture.

The team’s second challenge was to create a digital version of the snow plane Bond uses to
pursue villains through the Austrian Alps. MPC’s modeling team created the CG plane based
on the Britten-Norman Islander. The biggest challenge for the sequence was with the way the
plane interacts with its environment during the chase. On set, a practical plane was built and
pulled along on wires, wheels and skis through the forest. By mixing sections of the practical
plane with the full CG digital version, MPC was able to create a plane that has its wings torn
off and then careens on its belly while still under power from its two propeller engines. MPC’s
FX team created billowing snow clouds blown up from the engines, a powerful bow-wake of
snow from the sliding belly of the plane and streams of smoke and fire from its struggling
engines. Add to this the climactic moment when the plane bursts through a barn, scattering
smoke, wood and fire, and you have yet another iconic Bond chase sequence to add to the
long list of classic film moments.

MPC London’s team created a robotic surgical device used to inflict pain on 007 in the torture
chair in Oberhauser’s lair. The sequence was shot by DP Hoyte van Hoytema using extreme
close-ups and a narrow depth of field. Using existing surgical drills and production design
models as inspiration, MPC built the surgical armatures in minute detail, down to dents on
the screws and the texturing from the milling process.

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ABOUT “SPECTRE”
A cryptic message from the past sends James Bond (Daniel Craig) on a rogue mission to
Mexico City and eventually Rome, where he meets Lucia Sciarra (Monica Bellucci), the
beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting
and uncovers the existence of the sinister organisation known as SPECTRE.

Meanwhile back in London, Max Denbigh (Andrew Scott), the new head of the Centre for
National Security, questions Bond’s actions and challenges the relevance of MI6, led by M
(Ralph Fiennes). Bond covertly enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to
help him seek out Madeleine Swann (Léa Seydoux), the daughter of his old nemesis Mr White
(Jesper Christensen), who may hold the clue to untangling the web of SPECTRE. As the
daughter of an assassin, she understands Bond in a way most others cannot.

As Bond ventures towards the heart of SPECTRE, he learns of a chilling connection between
himself and the enemy he seeks, played by Christoph Waltz.

Sam Mendes returns to direct SPECTRE, with Daniel Craig reprising his role as 007 for the
fourth time. SPECTRE is produced by Michael G. Wilson and Barbara Broccoli. The
screenplay is by John Logan and Neal Purvis & Robert Wade and Jez Butterworth, with a
story by John Logan and Neal Purvis & Robert Wade.

About Albert R. Broccoli’s EON Productions
EON Productions Limited and Danjaq LLC are wholly owned and controlled by the
Broccoli/Wilson family. Danjaq is the US based company that co-owns, with Metro-Goldwyn-
Mayer Studios, the copyright in the existing James Bond films and controls the right to
produce future James Bond films as well as all worldwide merchandising. EON Productions,
an affiliate of Danjaq, is the UK based production company which makes the James Bond
films. The 007 franchise is the longest running in film history with twenty-four films produced
since 1962. Michael G Wilson and Barbara Broccoli succeeded Albert R ‘Cubby’ Broccoli and
have produced some of the most successful Bond films ever including CASINO ROYALE,
QUANTUM OF SOLACE, SKYFALL and SPECTRE.

About Metro-Goldwyn-Mayer
Metro-Goldwyn-Mayer is a leading entertainment company focused on the production and
global distribution of film and television content. The company owns one of the world’s
deepest libraries of premium film and television content. In addition, MGM has investments
in domestic and international television channels and is the majority owner of and distributor
for United Artists Media Group (UAMG). For more information, visit www.mgm.com.

About Sony Pictures Entertainment
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., a subsidiary of
Tokyo-based Sony Corporation. SPE's global operations encompass motion picture
production, acquisition and distribution; television production, acquisition and distribution;
television networks; digital content creation and distribution; operation of studio facilities;
and development of new entertainment products, services and technologies. For additional
information, go to http://www.sonypictures.com.

Decmber 1, 2015

  HitFilm

Get HITFILM 3 EXPRESS SPECIAL EDITION FREE!

Powerful video editor with 120+ effects for Mac & PC. This is not a demo. To celebrate the release of The Force Awakens, they are giving you professional-quality video editing and effects software for FREE!! Ready when you are!

CLICK HERE TO GET IT NOW!! https://hitfilm.com/express/the-force …

HitFilm 3 Express Special Edition

HitFilmExpress1


RealFlow 101 webinar on Thursday 3rd December in two time zones:

Realflow101

This webinar is for anyone that is interested in accessible Dynamic effects for VFX and want to know what RealFlow is about and what it can do.

CLICK THE LINK HERE TO ATTEND https://attendee.gotowebinar.com/rt/7352232315601146882


November 18, 2015

  Hitfilm4

HITFILM REVEALS THE NEXT GENERATION OF VIDEO EDITING

 

Everything filmmakers need in one place, from easy editing to big visual effects

Norwich, UK - 18th November 2015 – HitFilm today launched a new version of their flagship editing and visual effects software, HitFilm 4 Pro. Following the launch of HitFilm 3 Express for free, HitFilm 4 Pro introduces major new features for filmmakers requiring high quality visual effects. Chief among the advancements are a powerful video editor, greater realism when rendering 3D scenes, advanced animation controls and a refined interface.
Modern filmmaking requires indie filmmakers to be editors, VFX artists and colorists at the same time; HitFilm 4 Pro gives you everything you need and more. From short f ilms to documentaries, commercials to vlogging - HitFilm has features for beginners and experts alike, combining depth and sophistication with an intuitive simplicity.
No other video product combines high quality editing tools, 3D compositing, 3D object rendering, an industry leading particle simulator, an expansive toolkit for advanced color correction and grading as well as over 200 fully customizable visual effects. Also included is HitFilm Ignite, a collection of over 140 plugins for use in Adobe Premiere Pro, Adobe After Effects, Final Cut Pro X, Sony Catalyst Edit, Sony Vegas Pro, DaVinci Resolve & Apple Motion.
“HitFilm 4 Pro allows creators at every level access to w orld-class VFX and editing tools, ” explained Josh Davies, CEO, HitFilm . “Our passionate community are fantastic and we’re pleased to offer these tools to help them push their projects to the next level. No matter how grand the vision, users will be able to add new elements previously only available on platforms costing hundreds, if not thousands of dollars. HitFilm 4 Pro allows filmmakers of all levels to create professional-grade video projects. It’s the biggest release we’ve ever had.”
Today’s release of HitFilm 4 Pro is available immediately for download to Mac & PC for $349 from hitfilm.com . The system requirements are: Mac 10.9, 10.10, 10.11 and Windows 7, 8 & 10. One license can be used simultaneously on three separate machines.

Hitfilm3 Hitfilm5

To give you a quick overview, HitFilm 4 Pro is our biggest release ever and includes:


• Unique mix of editing, compositing & VFX capabilities in one product
• Two world class particle engines with soft particles & grid emitters
• Alembic 3D format support
• Workflow improvements including a new rate stretch tool & easy transitions
• New audio tools include 3D doppler shift, echo, room ambience & pitch adjustment
• Academy Award-winning planar tracking from mocha HitFilm
• Retina support on Mac & a redesigned layout for improved efficiency
• 64-bit architecture & GPU acceleration gives the best performance
• 3D Objects titling plugin from BorisFX, worth $299
• HitFilm Ignite, providing over 140 plugins for use in Premiere Pro, After Effects, Final Cut Pro X, Catalyst Edit, Vegas Pro, Resolve & Motion.

The HitFilm YouTube channel features tutorials, filmmaking techniques and occasional short

films: youtube.com/fxhomehitfilm . For more about HitFilm 4 Pro , visit hitfilm.com

 


 

November 5, 2015

Blackmagic Design announced today that FotoKem used DaVinci Resolve for color grading and online editing the pilot of Starz Network’s new series “Ash vs Evil Dead.

Building on the horror, humor and distinct style of the “Evil Dead” films, FotoKem had to stay consistent with the franchise’s unique style while establishing the distinct look and perspective of the series. Using a DaVinci Resolve-centric workflow, colorist Alastor Arnold created a very filmic and warm look for the overall show that juxtaposed a very high contrast, desaturated look for the metaphysicial presence of the Evil Dead. The FotoKem team also used DaVinci Resolve’s extensive editing features for online editing the VFX-heavy series, creating a seamless finishing workflow... Read More Here>

Ash vs Evil Dead

Click below to watch the official trailer

 https://youtu.be/unnLg1TPCYM


 D_Challenge

November 4, 2015 

Cebas sponsored Render and VFX Challenge: "Dark Side"

Are you ready for a challenge? Upload your work and win prizes!

"Artists please ensure that your submissions have some form of actual vfx and/or rendering done to the artwork.

Just 3D model alone without any visual enhancement will not be considered. Theme-related entries are accepted namely,
characters, monsters, fantasy, environment and any theme fantasy, but there must be more than just a 3D model."

ENTER HERE -  http://3dtutorials.net/challenges/


FDTD

Muse VFX Uses Fusion Studio for Visual Effects on “From Dusk Till Dawn: The Series”

Fremont, CA - October 30, 2015 - Blackmagic Design today announced that LA based Muse VFX uses Fusion Studio for their VFX work on “From Dusk Till Dawn: The Series,” the hit television show from El Rey Network and Miramax®.

“From Dusk Till Dawn: The Series” centers on the story of the Gecko Brothers and expands on the horror film franchise developed by Robert Rodriguez and Quentin Tarantino. In a world filled with crime and Culebras (immortal reptilian vampires), the television series requires skilled VFX work from the team at Muse VFX. Tackling every thing from Culebra transformations, blood splattered scenes and vampire immolations, the Muse VFX team uses Fusion Studio and Generation, Fusion’s multi-user management software, as the backbone for its pipeline.

“Episodic work requires feature film quality,” said Fred Pienkos, founder and VFX supervisor. “Fusion has a long track record of being fast and scalable, giving the highest quality results with the quickest rendering and processing and that still holds true. That type of productivity and intuitiveness in our tools is what’s needed to keep pace with today’s post production schedules.”

Operating as a tight knit team, Muse VFX is owned and run by artists. The Hollywood VFX boutique tackles big work without having to have a huge team, and relies on Fusion’s customization abilities to collaborate and speed up the VFX process. With Fusion, they are able to design an effect and then efficiently repurpose the nodes, macros and elements across the team and project to maintain high quality and consistency from shot to shot.

“The combination of good special effects and visual effects always leads to the best results,” said John Gross, founder and Creative Director. “On ‘From Dusk Till Dawn: The Series,’ the make up FX team did a fantastic job designing the Culebra look. One of our jobs with Fusion is to handle the transition from human to Culebra both seamlessly and believably, mixing reality with the supernatural.”

“It’s also up to us to tackle the non-practical blood. With horror at its core, blood is a large part of the show’s storytelling. It can be subtle or hit the audience over the head, but its look has to be consistent and authentic throughout the series. There was attention given to trying to get the color exactly right and Fusion guarantees the blood will be the exact crimson color that we need every time, regardless of the different environments and lighting conditions” added Pienkos.

Recently, the Muse VFX team was challenged with a particularly tricky scene that required a CG shot of an eight foot long, two headed snake. An actress was shot holding a real snake and then the Muse VFX team was charged with replacing its tail with a secondary head.

“Doing VFX for half of the snake posed certain challenges because it had to match the lighting and coloring of the real half, down to how light refracted off it’s scales,” explained Pienkos. “What’s nice about using Fusion is the stability and speed, empowering us to get things done. Without having to worry about technical issues, we’re able to focus on the task at hand — in this case, a mythical and mysterious serpent.”

Press Photography

Product photos of Fusion Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/press/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

About Muse VFX

Muse VFX is an award winning boutique of VFX artists and producers with a long track record of successful productions. The Muse core belief is that a happy team makes happy clients. The Muse team loves what they do and that shows in the experience of working with them. For more information please visit www.musevfx.com


Waterline, a magazine on RealFlow for free download

RealFlow users Discover magazine Waterline Thomas Schlick. Free, he devoted himself entirely to the Next Limit Technologies fluids simulation tool. The first copy is focused on scripting in RealFlow and includes no fewer than 98 pages. It can be downloaded on the magazine's website as a pdf.

waterline