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June 15, 2017

 

Over 80 powerful VFX & color grading plugins now free to use in any major video editor

NORWICH, UK, June 15th, 2017 - FXHOME ( hitfilm.com ) today released Ignite Express ( hitfilm.com/ignite-express ), a free suite of over powerful 80 plugins which transform editors like Premiere Pro, Final Cut Pro X and more, turning them into advanced visual effects toolkits.
 From world-leading keying technology to 360 ° video effects and the ultimate light flares collection - this suite contains over 300 effects and presets in total and uses professional HitFilm technology to help editors generate impressive visual effects, achieve perfect grading, color correction and much more. Created to fit into any workflow, users can plugin and power up using Ignite Express on Mac or PC with the editor of their choice: After Effects, Premiere Pro, Final Cut Pro X, Motion, Sony Catalyst, DaVinci Resolve, NUKE, EDIUS, Media Composer and Vegas Pro 14 are all supported.
 Ignite Express offers choice to video editors worldwide, with direct native support giving a smooth workflow and high performance every time. They can effortlessly scale up production value and dramatic flare in their next project with advanced VFX plugins, or experiment with hues, exposure, and hyperstylized effects to create their own signature film look. Ignite Express even contains advanced keying plugins for bold and believable composites, including a matte cleaner tool to seamlessly smooth edges.
 “ With Ignite Express, we can help editors all over the world tell great stories, no matter their workflow, ” says Josh Davies, Founder and CEO of HitFilm. “ It’s important to us that everyone has access to our powerful technology, so we’re thrilled to be able to offer these free plugins and open up a new world of possibilities for video editors and creators worldwide.
 Ignite Express users will find even more advanced plugins available in Ignite Pro, which is available from the HitFilm store for $199. It contains over 150 plugins and offers further flexibility for video editors.
 “They [HitFilm] feel that helping future generations become masters of their craft is the right thing to do.” - Dan Cooper, Engadget
 


 

June 13, 2017

VICE Media Relies on DaVinci Resolve Studio to Grade VICELAND Television Shows

Fremont, CA - June 12, 2017 - Blackmagic Design today announced that DaVinci Resolve Studio is used for color grading and finishing on more than 15 of VICE Media’s television shows airing on its VICELAND television channel. Grading for the majority of the television shows takes place in-house in several DaVinci Resolve Studio suites across the VICE New York and VICE Los Angeles production offices. The colorists and shows include:

Chris Beardslee: “Balls Deep” and “Noisey;”
Eli Friedman: “Last Chance High;”
Mishel Hassidim: “Beerland,” “Earthworks,” “F*ck That’s Delicious” and “King of the Road;”
Shanna Maurizi: “Black Market,” “Gaycation,” “States of Undress,” “Weediquette” and “Woman;”
Ben Perez: “Black Market: Dispatches;”
Chris Ramey: “Ancient Aliens with Action Bronson,” “Balls Deep,” “Noisey” and “VICE Lab;” and
Robbie Renfrow: “Bong Appétit,” “The Therapist” and “VICE World of Sports.”

Shanna Maurizi is a professional colorist, artist and filmmaker in New York City and is one of the senior colorists that regularly works with VICE New York. She has graded “Weediquette,” a documentary series that chronicles the ever-changing landscape of cannabis in the U.S., since the first episode, and the show is now in its third season. “I came to the project with some ideas, and when I met with Host Krishna Andavolu and Showrunner Nick Carew, we were really on the same page and brought our ideas together; it’s been a really rewarding collaboration,” explained Maurizi.

 

With season three shot entirely in the U.S., Maurizi focused on developing a main look that differentiated the American landscape. “Quality of light and the foregrounding of the natural world are important, so what does Los Angeles feel like in comparison to Maryland? Washington state? How does light behave in different geographic places? High mountain terrain is very stark with a very different distribution of light and dark than the lush humidity of the South,” said Maurizi. “The stories are told from within each characters’ world, and I try to portray the location as richly as possible, so they really inhabit it. Rather than depending on what I think, say Nevada looks like, I’ll listen to the footage and look at photographers and filmmakers working in the area to arrive at a look.”

Even before grading begins, Maurizi relies on DaVinci Resolve Studio’s Gallery and adjustable split screen to help define the look of an episode. “When I’m meeting with Nick to talk about the look of an episode, I’ll use the split screen viewer to throw up a grid of key shots so we can consider the overall palette as we get started,” she noted. “Speed is really important in the turnaround times for broadcast, so DaVinci Resolve Studio’s groups are also an essential part of the workflow. Shows are sent to color as a flat log file, and I build groups according to scene or camera angle. Then I can work the scenes against each other to develop the flow of the episode.”

Maurizi continued, “DaVinci Resolve Studio’s Hue vs. Hue curves are also a good efficiency tool for quick adjustments in pre-groups to avoid pulling a key, which is hard to do across a whole scene. I use printer lights heavily and I can work fast, making global changes that don’t distort the negative and feel very natural, which is important to the show. I also use DaVinci Resolve Studio’s Splitter Combiner nodes in noise reduction. The cameras are low noise, and when noise does appear, it reads as grain. I want to de-noise but still retain some of that film-like grain and sharpness, so I split out the channels for noise reduction.”

Maurizi noted how DaVinci Resolve Studio’s editing capabilities also come in handy: “I use the Edit page often to adjust edit points from the EDL and cut in new shots. There are often late changes or updated archival footage, and Online Editor Davy Gomez can import my project via the project pane to drop new shots into the timeline and paste the grades over. This really helps as I am often on another project and can’t address changes after the grade is complete.”

“I love the intersections between my grading work and my life as a visual artist, and this show has given me a lot of space to explore communicating in visual images,” Maurizi concluded. “I was brought in specifically for the launch of VICELAND. It was a lot of work as they were simultaneously building out a post production facility and figuring out how to run a television channel, and Spike Jonze really set the tone and made everyone feel included. VICE journalists are doing the good work, and in the current times, I'm glad to be spending my time and energy on something really necessary.”

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

 

 


June 8, 2017

Qube! Helps Ant Farm Create Intricate New 5K Ident for Amazon Studios' Movies

Leading LA-based creative agency uses PipelineFX's intelligent render farm manager to create the logo animation shown in films like recent Oscar-winner, ‘Manchester by the Sea’

LOS ANGELES, CA (June 8, 2017) - When you're working on a big job for one of your biggest clients, you need tools you can trust. So when Amazon Studios commissioned Industry Creative, the theatrical division of the award-winning creative agency Ant Farm, to produce a full-CG animated ident to play at the head of all of its future motion pictures, there was only one choice for the work: to play at the head of all of its future motion pictures, there was only one choice for the work: Qube!

Creating disruptive content for the entertainment industry's biggest players

Founded in Los Angeles in 1996, Ant Farm is one of the world's leading full-service entertainment and advertising agencies – creating, marketing, and distributing content for its diverse client portfolio of major brands and top entertainment companies. Industry Creative itself has pioneered some of Hollywood's most innovative campaigns, from major blockbusters to independent movies. So it came as little surprise when Amazon Studios awarded them the job of designing and creating a new animated logo to play out at the start of all of its new films, including the two-time Oscar-winner Manchester by the Sea.

Simplifying a complex 5K render job

Amazon Studios’ opening logo, a 22-second animation, begins by drawing the viewer into the pages of a high-tech pop-up book. The book’s cover elegantly opens to reveal an entire miniature city block as the buildings start to assemble themselves from the ground up. As the camera travels along the street, the asphalt unrolling before it like a glamorous red carpet, it hones in on the marquee of a movie theater, on which the Amazon Studios logo is displayed.

“We pitched a very wide range of ideas to Amazon, from sculptural art to six-foot-tall stop-motion animation, but the idea of starting with a book really spoke to us,” says Doug Brandt, CEO of Ant Farm and Executive Creative Director of Industry Creative. “We are visually referencing Amazon's origins, then showing how they are building a new film community around breakthrough filmmakers.”

The logo animation, which was rendered at full 5K resolution, occupied the entire 43-node render farm at Antenna, Ant Farm’s motion design studio. In order to fully ensure that hardware resources were distributed optimally, Antenna turned to Qube!, PipelineFX's industry-leading render management solution.

“The most challenging part of the job was the volume of animation,” says Lucas Christman, Antenna's Creative Director. “We rendered using After Effects for compositing as well as Maya for 3D, with 20 different render passes and tens of thousands of frames running through Qube! – all without a hitch.”

The culmination of a 10-year working relationship

Ant Farm's relationship with PipelineFX began long before the Amazon Studios logo. Qube! has been utilized in production for a vast majority of Ant Farm’s projects over the past 10 years.

“We tried a number of different render management solutions and were drawn to Qube! because of its ease of use,” says Christman. “But at the same time, it's flexible enough to handle complex workflows. It truly gives the artist the tools necessary to deliver projects on schedule.”

Flexibility is important, since Antenna uses a wide range of software in its work, including 3ds Max, Cinema 4D and Maya for 3D animation, After Effects and Nuke for compositing, plus a variety of third-party plugins and renderers.

“Of the solutions we tried, Qube! was able to provide us with the best blend of user-friendliness, application support, OS support, and technical support,” says Christman.

Keeping Hollywood's A-list on Ant Farm's client list

Qube! provides Ant Farm (and other agencies like them) with the edge they need to keep the entertainment industry's A-list on their client list. “Render management tools are imperative for anyone doing multi-machine processing,” points out Christman. “The ability to manage resources is part of what makes companies successful.”

Due to Qube!'s winning combination of stability, customizability, and ease of use, Ant Farm is able to take on demanding high-profile jobs like the Amazon Studios ident, secure in the knowledge that the thousands of 5K frames required will be rendered on schedule, and with full artistic control.

“Qube! provides micro-level management tools in any modern render farm workflow,” says Christman. “It's a rock-solid product and a tool that Ant Farm and Antenna use constantly, day in, day out, without any downtime or issues.”

About Qube!™ and Smart Farming™

Qube! is an intelligent, mature and highly scalable render management solution that can be quickly integrated into any production workflow, and is backed by world-class technical support. Qube! delivers intelligence to production pipelines by providing business-critical insight into render pipelines, maximizing investment in rendering infrastructure and automating manual processes. Qube! works out of the box with all leading content creation applications and is truly cross-platform with all software components available on Windows®, Linux®, and Mac OS®X operating systems.

About PipelineFX

As the leading provider of intelligent render farm management solutions for digital content creation, PipelineFX provides software, support, consulting and training services worldwide. Qube! runs on more than 35,000 render nodes at over 750 customers in 51 countries and is used to render film and visual effects, post production, broadcast, design, games, and education media. Clients include: Base FX, BBC, Cisco, Cutting Edge Sydney, Deluxe, DHX Media, Dyson, Electronic Arts, Ford, HBO, Hasbro, Image Engine, Jam Filled Entertainment, L.M.U., L'Atelier Animation, Lockheed Martin, Mackevision, Method Studios, Marvel Studios, MPC, NBC Sports, Next Media Animation, NHK, NYU, Original Force, Pratt Institute, Procter & Gamble, RedHat, ReelFX, RodeoFX, South Park Studios, SVA, Target, Technicolor, Toyota and many others. PipelineFX is headquartered in Honolulu, HI, and has resources located in the Continental US, Canada, Australia and Europe. http://www.pipelinefx.com

About Ant Farm

Headquartered in Los Angeles, CA, Ant Farm is a full-service advertising and marketing agency for major entertainment and consumer brands. A wholly owned subsidiary of Omnicom's DDB, the agency offers a full spectrum of creative and digital capabilities, creating trailers, commercials, motion graphics, and social campaigns for a diverse range of clients including 20th Century Fox, ABC, Activision/Blizzard, TOMS, Microsoft, Amazon, Bethesda, Columbia Pictures, Disney, DreamWorks, Fox Sports 1, FX, Google, Lionsgate/Summit, Marvel Entertainment, USA Network, MTV, NFL Network, Paramount Pictures, Sony, TNT, Ubisoft, Universal Pictures, Warner Bros., The Weinstein Company, and YouTube. Ant Farm was named Agency of the Year at the Game Marketing Awards in 2015, 2013, and 2011, and has won numerous other Cannes Lions, Clio Key Art, Emmy, Golden Trailer, and Telly Awards. http://www.antfarm.net

 


 

 

June 7, 2017

FOR IMMEDIATE RELEASE

 

 ‘VIEW CONFERENCE

18th ANNUAL VFX / COMPUTER GRAPHICS / GAMES  EVENT

October 23-27, 2017 – Turin, Italy
Registration Opens as Industry Confab Confirms \Heavyweight First Slate of Top Industry Speakers

  ‘VIEW Awards’ Submission Entries Also Now Open!

TURIN, Italy/HOLLYWOOD (June 05, 2017) VIEW Conference 2017, Italy’s renowned computer graphics, digital media and games conference has officially opened registration for the show’s spectacular 18th annual event, which runs October 23-27, 2017 in Torino, Italy.  The one-of-a-kind conference brings together a wide slate of industry heavyweights in the fields of animation, visual effects, virtual reality, digital design and gaming.  Among those already confirmed for keynote presentations are legendary World of Warcraft game designer Rob Pardo, CEO of Bonfire Studios, and Baobab Studios Chief Creative Director Eric Darnell, known for his acclaimed work, including co-directing and co-writing all four DreamWorks Animation Madagascar films with Tom McGrath, as well as directing Antz.

VIEW Conference has also announced the opening of submissions for the show’s highly competitive ‘VIEW Awards.’  Celebrating the best in animation and video games, each year this competition receives hundreds of entries, vying for recognition in four categories for animated short films or videogames.

VIEW Conference spans five remarkably diverse days, featuring talks, workshops, panel discussions, interactive sessions, awards and more, in an intimate conference like no other.  It is presented to an expected audience of 6,000 professionals and students.

The initial list of industry professionals confirmed to present at VIEW Conference 2017 includes those below.  Additional announcements are forthcoming, as speakers are added.

Initial list of VIEW Conference 2017 Industry Speakers
  1. Rob Pardo – CEO, Bonfire Studios. Renowned videogame design career including World of Warcraft VIEW Keynote Speaker
  2. Eric Darnell – Chief Creative Officer, Baobab Studios whose career includes co-directing & co-writing all DreamWorks’ Madagascar films and projects including Invasion, Asteroids, Rainbow Crow and more. – VIEW Keynote Speaker
  3. Phil Chen – Co-founder, HTC VIVE. A technology explorer and investor who is Managing Partner of Presence Capital VR/AR Venture Fund and Partner, Horizons Ventures who invest in VR/AR/AI.
  4. Paul Debevec – Senior Staff Engineer, Google VR and Oscar Winner
  5. Kevin Lin – Chief Operating Officer, Twitch.TV
  6. Christopher Townsend - Overall VFX Supervisor, Guardians of the Galaxy, Vol. 2
  7. Vicki Dobbs Beck – Executive in Charge of ILM x LAB
  8. Mark OsborneThe Little Prince and Kung Fu Panda, DreamWorks Animation
  9. Kris Pearn – Director The Willoughbys, Bron Animation and Cloudy With A Chance of Meatballs 2 Co-Director, Sony Pictures Animation
  10. Shannon Tindle – Director/Writer, Sony Pictures Animation, Disney, Laika, Google Spotlight Story On Ice
  11. Cinzia Angelini – Director, upcoming CG Animated short ‘Mila’
  12. Hal Hickel - Animation Director, Rogue One, ILM. Oscar and BAFTA Winner
  13. Rob Coleman - Head of Animation, Lego Batman Movie, Animal Logic. Two-time Oscar nominee for his work on Star Wars
  14. Kim White – Director of Photography - Lighting, Cars 3, Pixar Animation Studios
  15. Noelle Triaureau - Production Designer, Smurfs: The Lost Village, Sony Pictures Animation
  16. Mike Ford - VFX Supervisor, Smurfs: The Lost Village, Sony Pictures Imageworks
  17. Carlos Zaragoza - Production Designer, The Emoji Movie, Sony Pictures Animation
  18. Maureen Fan – Chief Executive Officer, Baobab Studios, VR
  19. Larry Cutler – Chief Technology Officer, Baobab Studios
  20. Eloi Champagne - Technical Director, National Film Board of Canada, VR
  21. Claudio Pedica – Senior Interaction Designer, Sólfar Studios & AI researcher at Reykjavik University
  22. Michael Rubin – Founder and Chief Photo Officer, Neomodern
  23. David Putrino – Director of Rehabilitation Innovation, Icahn School of Medicine at Mount Sinai. Director of Telemedicine and Virtual Rehabilitation Medicine at Weill-Cornell Medical College. Chief Mad Scientist, Not Impossible Labs.
  24. Victor Perez - VFX Supervisor, Gabriele Salvatores Invisible Boy sequel
  25. Francesco Filippi – Director, Mani Rosse (Red Hands), Studio Mistral
  26. Ed Hooks - Multi-faceted theatrical professional, actor, author and acting teacher.

“I am thrilled to confirm such an impressive list of speakers so early in our 2017 planning process,” said conference director Dr. Maria Elena Gutierrez.  “This year’s VIEW Conference continues our tradition of showcasing many of the world’s top animation, visual effects artists, while adding even more great speakers to our line-up to showcase games and virtual reality.”

The VIEW Conference’s popular awards competition recognizes animated short films and videogames created between January 1, 2015 and September 15, 2017.  Entry is available online at:  http://www.viewconference.it/awards-and-social-contest/

 

The awards categories are:

  • BEST SHORT – category for those creating and animated short, music video or commercial using 2D/3D animation. The contest is open to students and professionals with a maximum length of 30 minutes.  The best short will be evaluated based on design, environments and best character.  First prize is 2,000 Euros.  Submit your work

 

  • SOCIAL CONTEST – a short video clip or commercial focusing on social themes.

First prize is 500 Euros.  Submit your work

 

  • GAME CONTEST – an award recognizing the best gameplay, design and mechanics.

First prize is 500 Euros.  Submit your work

  • ITALIANMIX – dedicated to the work of Italian artists, the work can be animated, experimental or documentary. Maximum length 30 minutes.  First prize is 500 Euros.  Submit your work

 

The deadline for ALL VIEW Awards submissions is: September 15, 2017.

Professional and Students are invited to register to attend VIEW Conference 2017 online at:  http://www.viewconference.it/passes-pricing

The VIEW 2017 Conference is made possible with the support of Compagnia di San Paolo, Fondazione CRT, Piedmont Region, Turin's Chamber of Commerce and the City of Turin, Twith.tv.

Please visit the VIEW Conference 2017 website: http://www.viewconference.it for more information and speaker updates.

VIEW Conference Social Media:

Twitter: @viewconference; #viewconference2017

Facebook: https://www.facebook.com/events/198550217290007/

 


April 2, 2017

Chaos Group Releases V-Ray 3.5 for Maya

Fast Adaptive Lights and Major GPU Rendering Improvements Now
Available in Latest Update

LOS ANGELES, Calif. — March 28, 2017 — Today, Chaos Group released V-Ray 3.5 for Maya, a major update to its Academy Award-winning CPU and GPU production renderer. Used on recent television and film projects including The Fate of the Furious, Beauty and the Beast, and Stranger Things, this update brings faster rendering, more responsive look development and added realism to high-end VFX and animation projects.

"We are constantly working with studios to address their daily production challenges, as well as researching and developing new ideas," said Vlado Koylazov, Co-founder and CTO at Chaos Group. "V-Ray 3.5 is the result of our continued efforts to help artists and to advance rendering technology at the same time."

New additions include:

Faster rendering with Adaptive Lights

V-Ray 3.5 introduces Adaptive Lights, a fast new lighting algorithm that speeds up rendering in scenes with many lights. With Adaptive Lights, V-Ray determines which light sources are most important, so ray tracing calculations are focused and more precise. When tested on multiple CPU and GPU scenes, render times were typically two to seven times faster.

“At Digital Domain, we used Adaptive Lights extensively on The Fate of the Furious. It allowed us to render highly complex environments with thousands of lights in a fraction of the time compared to what other renderers could offer. We saw 4X speedups per frame, which significantly helped our render throughput on the show,” said Carlos Cidrais, Lighting Lead at Digital Domain. “Chaos Group was extremely supportive, responding to our requests and fixing bugs in just a few days. V-Ray 3.5 for Maya has broadened the horizons of what we can deliver to our clients.”

Interactive look development in V-Ray IPR

Look development is quicker and more responsive in V-Ray 3.5 for Maya. The improved V-Ray IPR starts instantly, updates faster and uses less memory. Changes to materials in the Hypershade Material Viewer now update instantly as well.

New V-Ray Frame Buffer tools make rendering with V-Ray IPR even faster. The Render Mask: Isolate select mode focuses rendering on a specific object without rendering the entire scene, and a new Set Focus Point option allows the camera’s focal point to be set interactively, simply by clicking on an object.

Improved shading and reflections

For more accurate reflections and realistic skin, V-Ray 3.5 for Maya adds support for the alSurface material. Developed by Anders Langlands, the alSurface shader includes layered subsurface scattering and glossy Fresnel reflections. This makes it a popular choice for rendering photorealistic skin.

“Our specialty is our ability to bring creatures to life. With V-Ray’s help, we’ve been able to design and render creatures like the Demogorgon for the Netflix series, Stranger Things,” said Aaron Sims, owner of Aaron Sims Creative. “The new alSurface shader and interactive look development tools are a perfect fit for creature work. We’re looking forward to using them on our next production.”

Additional features and improvements:

Maya 2017 support

Support for XGen Interactive Groomable Splines
Support for AOV setups in new Render Setup templates

Resumable rendering
Stop your render at any point and continue where you left off

GPU rendering improvements

– Fit larger, more detailed scenes into memory with automatic texture sizing and loading

– Composite 3D scenes with realistic shadows onto background images

– Cleaner renders of glossy materials

– Continue working while rendering, now possible on a single GPU

– Add realistic area lights with directional controls

– Create car paints, snow and sand with procedural glitter and sparkle effects

– Create cross sections using a clipping plane

– Add atmospheric depth and haze

– Pre-calculate global illumination using CPU and render with GPU

– Add realistic barrel or pincushion lens distortion

– GPU-accelerated bloom and glare effects

For more information, visit: https://www.chaosgroup.com/vray/maya.

Pricing and Availability

V-Ray 3.5 for Maya is a free update for all V-Ray 3.x customers. Login at chaosgroup.com to download. This version also marks the debut of online licensing for V-Ray for Maya users, who can now choose this option instead of the traditional dongle. A full-featured 30-day trial is also available.

About Chaos Group

Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photoreal imagery and animation for design, television, and feature films. Chaos Group specializes in physically-based rendering and simulation software used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in cloud rendering, material scanning, and virtual reality is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Baltimore, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

 

 

 


March 24, 2017

Hum3D Character Fan-Art Challenge For 3D Artists!

Hum3D is a premiere high-quality 3D modeling service

Contest runs from March 21 - May 30, 2017   - Click here or on the banner above for more details-

The Fan-art contest is for the best 3D character from a video game. You can choose any remarkable hero you consider the most impressive. Everything is as usual: you have to create a character, put him or her into an adventurous surrounding and make a beautiful render. There are no limits for your creative ideas and we invite all 3D artists to participate.

The contest is supported by the best companies in the 3D world, and so the prizes for the first places look amazing. Also, everyone has an opportunity to receive an additional prize.


January 18, 2017

Chaos Group’s V-Ray Wins Academy Award

 

Photorealistic Production Renderer to be Honored for Advancing the Use of Fully Ray-Traced Rendering in Motion Pictures

LOS ANGELES, Calif. – January 18, 2017 – Chaos Group announces that Co-Founder, Vlado Koylazov has won a Scientific and Engineering Award for the “original concept, design and implementation of V-Ray.” The award honors pioneers whose “developments result in significant improvements [to]motion picture production” and will be presented by The Academy of Motion Picture Arts and Sciences at its annual Sci-Tech Award event on February 11.

Used on over 150 feature films since 2002, including recent hits like Doctor StrangeDeadpool, and Captain America: Civil War, V-Ray provides artists with world-class photorealism, helping them create stunning computer-generated visuals for audiences around the world. The creatures, characters, and environments rendered with V-Ray are key elements of modern films, and comprise the majority of work nominated for visual effects Oscars over the last six years.

In its announcement, the Academy praised V-Ray for its “efficient production-ready approach to ray tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance [that proved]instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.” Koylazov will receive one of the 18 Sci-Tech Awards to be presented in 2017.

"This award reflects the hard work and dedication of the entire V-Ray team,” said Koylazov, CTO and Co-Founder of Chaos Group. “I am also immensely thankful to all the artists and studios for the great work they have created with V-Ray over the years. I'd like to congratulate the other Sci-Tech winners as well – their efforts have pushed the boundaries of visual effects in film. We are looking forward to more great movies in the years to come."

V-Ray Users Weigh In:
Ben Grossmann, Magnopus CEO and Visual Effects Oscar winner for Hugo said: “I’m fortunate to have been honored by the Academy for work we created with V-Ray, and I’m glad to see Vlado and his team get the recognition they deserve for their contributions. Many of us owe them a lot for their support of cinema over the years.”

"Ray tracing has been a key part of ScanlineVFX’s pipeline since our work on 300 in 2007,” said Stephan Trojansky, ScanlineVFX VFX Supervisor and Sci-Tech Oscar winner for Flowline. “We’ve depended on V-Ray to deliver thousands of shots on over 50 feature films since that time. We couldn’t be happier for Vlado and his team.”

“On Tron: Legacy, we pushed ray tracing and global illumination to its fullest,” noted Eric Barba, VFX Oscar-winning VFX Supervisor. “We couldn’t have done it without V-Ray. Thanks to Vlado and the team for their continued support.”

The 89th Oscars will be held on Sunday, February 26, 2017 and will be televised live on ABC at 7 p.m. ET/4 p.m. PT. Portions of the Scientific and Technical Awards Presentation will be included in the Oscar telecast.

About V-Ray
From architecture and design to visual effects in film and television, V-Ray is the most widely used rendering solution in the world. V-Ray has helped artists and designers visualize their best work for over 20 years, pushing the boundaries of imagery, animation, and virtual reality.

About Chaos Group
Chaos Group is a worldwide leader in computer graphics technology, helping artists and designers create photoreal imagery and animation for design, television, and feature films. Chaos Group specializes in physically-based rendering and simulation software used daily by top design studios, architectural firms, advertising agencies, and visual effects companies around the globe. Today, the company's research and development in cloud rendering, material scanning, and virtual reality is shaping the future of creative storytelling and digital design. Founded in 1997, Chaos Group is privately owned with offices in Sofia, Los Angeles, Baltimore, Seoul, and Tokyo. For more information, visit: chaosgroup.com.

 


January 17, 2017

MPC research roots & build branchesto bring a monster to life for ‘A Monster Calls’

12-year-old Conor is dealing with far more than other boys his age. His beloved and devoted mother (Felicity Jones) is ill. He has little in common with his imperious grandmother. His father has resettled thousands of miles away. But Conor finds a most unlikely ally when the Monster appears at his bedroom window one night.

MPC Montreal VFX Supervisor Ferran Domenech led MPC’s team, completing more than 180 shots, to deliver the vision of director Juan Antonio Bayona.
MPC’s team was presented with the challenge of creating the titular Monster (voiced by Liam Neeson) for the transformation and close-ups shots throughout the movie.  MPC handled the talking performanceshots as well as the modeling of the creature’s full body, sharingthe finished asset with other vendors, overseen by Production VFX Supervisor Felix Berge.

MPC Montreal’s work consisted mainly of close-up dialogue scenes of the monster against the emotional performances of young Conor O’Malley (Lewis MacDougall) throughout the film.  MPC’s team also created the transformation from a Yew tree into the monster and the enraged variation where he turns into a bigger and scarier version of himself with an internal fiery glow and protruding spiky branches.

MPC modelled and adjusted the monster’s facial anatomy from the original head scan supplied from production, to work for the expressive dialogue performances needed. The CG modelling team modelled and textured the whole body as a mix of different types of virtual wood pieces intertwined with branches and vines that were then rigged to articulate and simulate a musculature and nervous system.

Great attention was placed in the creation of the Monster’s eyes, which would be crucial in communicating emotion to the audience and are seen in extreme close-ups throughout the movie. They were re-designed to be closer to human eyes to achieve a deeper emotional connection with viewers whilst keeping a natural tree like base quality at its root. This was achieved by using textures from lighter wooden surfaces on the sclera, while the colour palette of the iris was derived from the moss that covers its body and the wet areas of the eyes based on different types of tree sap.

The Monster’s facial rig required the most research and development as it had to be flexible enough to perform a wide range of expressions and lipsync dialogue whilst keeping to the structure of rigid pieces of wood.  For this, the whole face and body was built as a jigsaw of hundreds of sliding pieces that would neither stretch nor deform like rubber, but instead slide alongside each other. This approach was technically complex, but kept the movement of the face grounded in reality.

MPC also worked on environments for Conor’s neighbourhood and the rooftop of his house as he and the monster converse in the middle of the night about the meaning of the stories they shared.

Set extensions for the final nightmare cemetery sequence were created by MPC’s team. For the action shots, MPC’s FX and Technical Animation departments created  destruction elements that collapse when the monster beats the earth with his fists, as well as other destroyable props when it rampages through the school cafeteria destroying tables, chairs, ground and the ceiling. The Technical Animation department also took on the challenge of adding wind simulations to the small branches which sprout from the monster and added dynamic leaves and bark that would fall when the monster transformed from normal Yew tree into the 40 ft tall monster. For these transformations, MPC created a fully realised Yew tree with dynamic branches and leaves with a trunk that could be animated to break into pieces to reveal the monster hidden inside as he rips himself free of the canopy.

MPC’s Animation department stepped up to the challenge of animating emotional close-up performances for the monster as full keyframe animated shots; both for body and facial acting.  This was realised with a wide selection of directed video references of Liam Neeson for each scene. Although no motion capture data was used in the finals shots, the witness and helmet camera video from these sessions provided perfect guidance for the animators as they worked with the audio. This approach is best exemplified in the final emotional scenes as the monster helps Conor face his nightmare, delivering subtle true to life acting and facial performance.


December 15, 2016

Celebrating Star Wars: Make a fan film with free HitFilm video editing & VFX software

NORWICH, UK, December 16th, 2016 - To celebrate the release of Rogue One: A Star Wars Story and the power of their free video editing & VFX software HitFilm 4 Express, FXHOME (hitfilm.com) have today launched their Star Wars-style fan film, Rebellion, complete with free video tutorials and project files to enable filmmakers to make their own Star Wars inspired content at home. From learning how to clone Stormtroopers to designing blaster effects - HitFilm’s latest project gives filmmakers worldwide the ability to create Hollywood-level visual effects using powerful software, completely free.

“Our company was built on lightsaber-style effects and our love of the Star Wars universe,” says Josh Davies, Founder and CEO of FXHOME. “We don’t want emerging filmmakers and creators to be prevented from making awesome content because they can’t afford expensive ‘professional’ software. So we’ve made our powerful editing & VFX software completely free and we’re giving everyone free tutorials and project files so that they can create their own Star Wars fan film, at home.”

HitFilm 4 Express (hitfilm.com/express) launched in April 2016 and is the only all-in-one editing and professional visual effects software to be backed up with a vast range of tutorials and unparalleled support. Available for free, HitFilm 4 Express has been designed from the ground up to run on almost any computer; from consumer laptops to hardcore gaming rigs. Its powerful technology gives the next generation of filmmakers the ability to make bigger and better content than ever before.

HitFilm 4 Express is the most flexible tool available for free in the video software market; as well as a powerful editor, it also includes professional animation tools, speed controls and over 150 effects such as lightning, smoke and explosions. Now with almost 900,000 users, HitFilm 4 Express has everything a creator needs to get started and also offers flexibility through a useful set of optional expansion packs with additional powerful features and effects.

HitFilm 4 Express is available to download immediately from hitfilm.com/express.

Created in partnership with Emmy Award winning production company Ember Films (emberfilms.co.uk), Rebellion is available to watch for free at hitfilm.com/express/rebellion.

 


 

 

December 15, 2016

Allegorithmic Releases Substance Designer 5.6

Digital Material Authoring Software Introduces New Tools and Filters for Photogrammetric Workflows

CLERMONT-FERRAND, France – December 15, 2016 – Today, Allegorithmic releases Substance Designer 5.6, a free update that adds seven new tools and filters to the industry-leading digital material authoring software, including solutions for both scanned and photogrammetric workflows.

Using Substance Designer 5.6, artists can now blend scanned materials with Substances and bitmaps, as well as achieve additional accuracy through the extraction of ambient occlusion and normal maps. This will be the first of many additions and innovations dedicated to scan-based material authoring, continuing Allegorithmic’s mission to create the de facto standard for every type of digital material creation workflow.

For artists experimenting with photogrammetry, Substance Designer 5.6 now offers a brand new set of tools. New additions include:

  • Height Blend: Blend multiple materials or scans using their height maps for added realism. Output includes blended height and a mask to easily blend other channels of your materials.
  • Horizon Based Ambient Occlusion: Artists can now generate an accurate ambient occlusion with real-world scale and depth of surface, simulating a raytraced bake in milliseconds.
  • Color Match: Fine-tune the overall tint of your scans without destroying the color of small elements.
  • Real-World Height to Normal: Set the width, length and/or maximum height of a surface to generate a world space accurate normal map, perfect for precise displacement or parallax effects.
  • Snow Cover: Add a snow cover to any pre-existing material and create realistic effects like a windy blizzard or snowmelt. All snow piles realistically and can be adjusted via multiple parameters including thickness.
  • Water Level: Adds an artificial water plane to a material. Tweak the water’s height, dirtiness, fogginess and freeze.
  • Material Blend Height: Use the Height Blend method to blend two full materials using their height map, as well as making sure the albedos match properly, all in a single node.
  • Non-Uniform Histogram Scan: The Histogram Scan node is a favorite of artists wanting to create nice animated masks and weathering. This new version adds custom inputs to drive the contrast and level of the mask on a per pixel basis, allowing for the generation of much more complex and rich masks

“The goal of the Substance toolset has always been to provide the best tools for digital material authoring,” said Dr. Sébastien Deguy, Founder and CEO of Allegorithmic. “Now the enthusiasm we are seeing for scan-based content and photogrammetry has a dedicated outlet in Substance Designer.”

A free 30-day trial of Substance Designer 5.6 is available now.

Pricing/Availability

Substance Designer 5.6 is available today for Linux, Mac OS and Windows, and is free for current license holders and Substance Live subscribers. For new users, indie licenses are priced at $149, while Pro licenses are available for $590. Licenses can be purchased directly through the Allegorithmic website or an authorized retailer.

About Allegorithmic  

Allegorithmic is the industry leader in 3D texturing technologies. More than 100,000 users in the domains of games and entertainment, film and VFX, architecture, and design rely on Allegorithmic's award-winning Substance texture authoring software for developing the next generation of digital content. Clients include: Activision, Sony Computer Entertainment, Electronic Arts, Microsoft, Ubisoft and Gensler Founded in 2003, Allegorithmic is based in France with offices in Clermont-Ferrand, Lyon and Paris, and has global offices in Los Angeles, Tokyo, and Seoul.


 

December 13, 2016

REALTIMEUK HITS 20 YEARS!

With their artists winning awards left, right and centre. It’s been a great year for RealtimeUK leading up to their 20th anniversary.

  • We all know that hitting the 20-year milestone is a big achievement. Especially when you’re still being recognized amongst the big boys in an industry that has become very crowded with tech now more affordable than ever. RealtimeUK’s passion for quality has been a big driver in them continuing to make world renowned Game Cinematics and CG imagery.
  • During their 20 years in the industry, RealtimeUK have collaborated with the publishers of major IP’s such as ‘World of Tanks’, ‘War Thunder’ and ‘SMITE’ and it’s their creativity that has helped get these games noticed. Todd Harris, ‘Hi-Rez Studios’ says “I would without hesitation recommend RealtimeUK to any developer looking to do a high end cinematic”
  • Anyone and everyone who appreciates Game Cinematics or CGI is going to love this little video showing how far video size, quality, and content has come over the last 20 years.

COMPANY BIO

Established in 1996, with offices in both Lancashire and Manchester. RealtimeUK’s success is driven by its passion to innovatively develop new ways of creating cutting edge, high-end content for marketing films, imagery, VR and in-engine content.

Attracting some of the biggest names in the video games world such as Wargaming, Sony, Amazon, Tencent, Hi-Rez and SEGA to name but a few. Their character lead productions are racking up millions of views in a matter of weeks.

This passion and desire to achieve the highest levels of image quality, characterisation and engagement on every project has become part of their DNA and is at the heart of each and every individual of our incredibly talented team.

Complimenting their work in the video games sector, RealtimeUK also have a 20-year history in delivering cutting edge, photo-real content for the automotive sector with leading brands under their belt such as Bentley, VW, Infinity and Aston Martin. They have been enjoying huge success with their latest partnership with Bentley where their assets have been used in various multi-platform campaigns such as Look Closer and the Inspirator App.

For further information contact: www.realtimeuk.com


November 13, 2016

SPANISH FEATURE ANIMATIONOZZY COMPLETED USING DAVINCI RESOLVE STUDIO

Manchester, United Kingdom - November 10, 2016 - Blackmagic Design today announced that Barcelona based post production house, Moonlight Cinema, has completed both the digital intermediate and finishing of the new children’s animated film “Ozzy” on DaVinci Resolve Studio.

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Post production director Alejandro Matus and colorist Ignasi González produced more than 40 different deliveries of the animation over a two week period, using Moonlight Cinema’s three DaVinci Resolve color grading suites to cater for everything from different aspect ratios and frame rates through to multiple language versions.

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“We had never taken on an animated film before, so there was an added layer of pressure to deliver a high quality finish,” explains Matus. “Resolve was an enormous help throughout all aspects of the project, particularly with its new editing tools. Not only did we use it to conform and master the project, but we also were able to make changes to the edit during the grade without having to leave Resolve.”

Starting with 2K DPX files transferred to them by Tangent Animation in Canada, the Moonlight Cinema team applied a LUT to act as a base for the film’s overall look. “For many in the industry, it may seem natural to think that animation projects don’t require any real color correct, but in fact, the complete opposite is true,” says González. “Unlike a live action feature, a CG animation’s whole universe will have been created by many different people on many different machines. Homogenizing this content and giving greater depth to the animation through tools like light and blur is a daunting task.”

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To ensure that every shot in a sequence matched uniformly, Matus and González decided to separate key elements from each scene through their respective alpha channels using mattes. This allowed for more control to modify individual assets, such as character faces, throughout the final grade. The next step was to give “Ozzy” its own unique aesthetic.

“Ozzy is a children’s film, so we wanted to maintain a bright, friendly feel even in scenes that were tense or sad,” González continues. “The great thing about being a colorist on an animation like this was that I had way more creative freedom when grading. For some night scenes, for instance, I could push the blues of the sky to a point where a live action sky would never go. The same happened with sunsets.”

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“The best thing about using DaVinci Resolve for this was the Color Management system. What impressed me on this feature was Resolve’s ability to handle all of the different color space conversions that we needed to output. It was quick and pain free. We also had a lot of shot replacements coming in throughout the grading process. With Resolve, I could simply save a still from a grade that I was happy with to the stills gallery, and it would include all the keyframe and tracking information, which made it stress free to update to a new shot.”

PRESS PHOTOGRAPHY

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

ABOUT OZZY

Ozzy, a friendly, peaceful beagle has his idyllic life turned upside down when the Martins leave on a long and distant trip. There's only one problem: no dogs allowed! Unable to bring their beloved Ozzy along for the ride, they settle on the next best thing, a top-of-the-line canine spa called Blue Creek. This picture perfect place turns out to be a facade constructed by its villainous owner to capture dogs. Ozzy will soon end up in the real Blue Creek, a prison for dogs, run by dogs. Ozzy will have to avoid danger and find strength in his new friends, Chester, Fronky and Doc to escape the prison and return home safely.

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.

 

 


 

November 7, 2016

ET CULTURA Festival 2016

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Check out more on their website http://www.etcultura.com

ET CULTURA INC., 1133 BAUM AVENUE NORTH, SAINT PETERSBURG, FL, 33705727-902-7637INFO@ETCULTURA.COM


October 25, 2016

 

TheCGBros YouTube Channel Breaks Through 1 Million Subscriber Mark

Video Creators and other Video Rights Holders crave exposure of their artistic work. They know that a work of art has no extrinsic value unless it is seen. Thus, the truism “unfound artistic masterpieces are worthless.” Although this has always been true, nowadays, especially when there are millions of videos vying for attention, the ability to have one’s work found is very valuable asset to have. And, TheCGBros YouTube Channel was founded to create and enhance that ability. This is why we are thrilled to announce that TheCGBros YouTube Channel now has over 1 million subscribers!

Since late 2011, when we officially launched our channel, TheCGBros has committed its resources to establishing and maintaining a strong, steady growth trajectory. The results of that strategy are that TheCGBros YouTube Channel has achieved a broader reach and wider impact than at any prior time in our history. In fact, we are now in the enviable position of being one of the elite among all internet streaming content providers. Having surpassed the 1 Million subscriber level has positioned us as one of the top 3,000 YouTube channels. And, as far as reach goes, with over 330 Million views, we are one of the top 2,500 YouTube channels. We’re incredibly grateful to you, the tens of thousands of artists and millions of CGI/VFX fans around the world who have helped us reach these important growth milestones. We couldn't have done it without your help.

In support of our many viewers around the world, and particularly for our many loyal subscribers and creators, we remain dedicated and fully committed to making a continued investment of our resources into streaming original CGI/VFX content of the highest quality. We will use the innovative policies, procedures, and tools needed to further extend our global reach and influence, so as to improve our ability to provide a dynamic, high-profile, video promotion platform for showcasing artists across the planet.

Your continuing support of TheCGBros means that you understand just how important our high-quality CGI/VFX entertainment and community support for artists and creatives is. We invite to you to become an active member of TheCGBros community. Please visit our website at www.thecgbros.com to sign up for our newsletter and become eligible to join our exclusive Facebook Group, or make a donation. Oh, and if you haven't done so already, please be sure to subscribe to TheCGBros YouTube Channel, and our Newsletter . Thank you!

Best regards,

-TheCGBros


October 17, 2016

The Atlanta Sci-fi Film Festival 2016

TheCGBros feel very honored to have been selected to judge this year’s CGI Sci-fi film competition, held on OCTOBER 7-9, 2016 in Atlanta Georgia, and award the 1st, 2nd, and 3rd place winners. We are also grateful to all of the software companies that so graciously provided prizes for the winners. Black Magic Design, Cebas Visual Technology, Faceware Technologies Inc., FXHome, Golaem, and iToo software.  

Lastly, we again want to thank all of the film creators for submitting their films to this year's competition, and truly appreciate all of the hard work, passion and creativity put into every single film. Below are the final winners.

 1st Place - CLICK HERE TO WATCH "Last Day of War" ====>https://youtu.be/IjJmTeBSEzU

2nd_place_winner

2nd Place - CLICK HERE TO WATCH "Autonomous" ====>https://youtu.be/sH83VYSumZM

3rd_place_winner

 3rd Place - CLICK HERE TO WATCH "LONE" ====> https://youtu.be/T2tkpN719GI

 


 

 

 

October 13, 2016

 

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The Foundry Releases MODO 10.2

LONDON, UK – October 13, 2016 – Today, The Foundry launches MODO 10.2, offering powerful new updates for procedural modeling, retopology, rendering and more. Honed through customer insight, the new tools streamline the asset creation process for 3D artists and designers, bringing more speed and efficiency to a famously intuitive program.

MeshFusion has been completely revamped in 10.2, making it even easier to cut, combine and intersect geometry. Guided by a new schematic-free workflow, MODO’s advanced Boolean toolset will now automatically launch and reorder a model’s underlying tree structure whenever an edit is made. Along with cleaner outputs and enhanced viewport visibility, MeshFusion is more user friendly than ever before.

"The closer we get to freeform creativity, the more our users win, no matter what industry they are in," said Derek Cicero, head of industrial design at The Foundry. “MODO 10.2 has been designed with artists in mind. It’s fast, powerful and easy to use, everything an artist needs to produce something special."

Additional Features in MODO 10.2 Include:

Automatic retopology - Creating quad meshes at any density is now automatic, removing the need for manual cleaning. The meshes will not only follow the curvature of an input surface, but can be controlled by weight maps and sketched guide curves, increasing artistic input whenever they want to creatively refine assets.

Procedural modeling enhancements - Users now have the ability to package, share and reuse assembly aliases, turning what can often be a complex set of mesh operations into a single item that users can share as presets. Slicing, drilling, cloning and duplicating tools have also been added/updated, bringing more production standards into the procedural modeling workflow.

Deformer caching - Deformations and mesh operations can now be cached and held in memory, so artists working on complex animations can scrub the timeline significantly faster.

Rendering enhancements - The Preview Renderer and Advanced Viewport have received significant performance improvements; while the new ability to use arbitrary meshes as light sources offers an exciting new lighting workflow that can easily represent difficult shapes such as filament bulbs.

MODO 10.2 is the final release in the MODO 10 Series, The Foundry’s first multi-part offering that accelerated the speed at which users receive major updates. Geared for professionals and beginners alike, the MODO 10 series has provided new features and improvements for the games, VR and product design markets since its launch in March, including the popular procedural modeling toolset.

For more features and information, please visit the MODO 10.2 product page.

Pricing and Availability
MODO 10.2 is available today for Windows, Mac OS X and Linux, and is a free update for MODO 10 Series customers. New users can purchase an individual license for $1,799 or upgrade from a previous edition of MODO for $499. Licenses and upgrades can either be purchased on The Foundry’s website or via their sales team: sales@thefoundry.co.uk.

About The Foundry
The Foundry designs creative software technologies used to deliver remarkable visual effects and 3D content for the design, visualisation and entertainment industries. The Foundry’s software advances the art and technology of visual experience in partnership with creative leaders across the globe. It enables clients like Pixar, Mercedes-Benz, Google, ILM, Weta Digital, Blizzard, The Moving Picture Company and Sony Pictures Imageworks to turn incredible ideas into reality by solving complex creative challenges.

The company was founded in 1996 and is headquartered in London, with 300 staff based across offices in Silicon Valley, Los Angeles, Shanghai, Austin and the UK. The Foundry consistently invests in R&D to provide more efficient ways for its clients to bring visual concepts to life.

In 2015, the London Stock Exchange named The Foundry one of its “1000 Companies to Inspire Britain.” It regularly features in The Sunday Times’ Tech Track as one of Britain’s fastest-growing private technology companies, most recently in 2016 when it also won the Excellence in Service Award at the International Track 200 awards. Every single film nominated for the Academy Award for Best Visual Effects in the last five years was made using The Foundry’s software.

The company was acquired by HgCapital in 2015.

© The Foundry, its logo and product names are registered trademarks in the UK, USA and/or other countries.

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October 5, 2016

Multiple Award Winning Short Film "The Secret of Joy"

the-secret-of-joy

Watch and listen to the beautiful song "My Right To Be" - The theme song for the multiple award-winning short film "The Secret of Joy." A film conceived and produced to raise awareness and funds on the topic of pediatric cancer and to support the Kids Cancer Research Foundation (www.endkidscancer.org)

To Watch CLICK HERE ==>https://youtu.be/6ys-8DYVEtE

The Secret of Joy is a short film that tells the story of Joy, a 11 y.o. girl who dreams of being a fairy in King Arthur's land. It was made possible by the contributions and in-kind donations of 17 companies and over 200 people. We thank them all. 

"The Secret of Joy"'s theme Song was composed and orchestrated by Gianluca Cucchiara, lyrics by Andrew Whelan, produced by Max Bartoli and Fabiola Lopez Bartoli for MaXaM Productions. Soloist voices by Olivia Hallett, Darius Merstein MacLeod and Rebecca Robbins.

A special thanks to Technicolor, who provided us with over $100K worth of post production and to Hammerhead Prods who produced all the digital matte painting and VFX enhancements.

YOU CAN PURCHASE THE SONG HERE
http://www.cdbaby.com/cd/oliviahallett

Copyright 2015-2016 MaXaM Productions

http://www.imdb.com/title/tt4152748/?...

 

 

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

hitfilm-4-express-screen-grab

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.

rail

 

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.

101_085_020_ACTOR2

“'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

 

 

ALP_072_0010_After
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.

AWC_061_0010_Before
AWC_061_0010_After







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.

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