Category Archives: 3D

Boxx’s Apexx SE capable of 5.0GHz clock speed

Boxx Technologies has introduced the Apexx Special Edition (SE), a workstation featuring a professionally overclocked Intel Core i7-8086K limited edition processor capable of reaching 5.0GHz across all six of its cores.

In celebration of the 40th anniversary of the Intel 8086 (the processor that launched x86 architecture), Intel provided Boxx with a limited number of the high-performance CPUs ideal for 3D modeling, animation and CAD workflows.

Available only while supplies last and custom-configured to accelerate Autodesk’s 3ds Max and Maya, Adobe CC, Maxon Cinema 4D and other pro apps, Apexx SE features a six-core, 8th generation Intel core i7-8086K limited edition processor professionally overclocked to 5.0GHz. Unlike PC gaming systems, the liquid-cooled Apexx SE sustains that frequency across all cores — even in the most demanding situations.

Featuring a compact and metallic blue chassis, the Apexx S3 supports up to three Nvidia or AMD Radeon pro graphics cards, features solid state drives and 2600MHz DDR4 memory. Boxx is offering a three-year warranty on the systems.

“As longtime Intel partners, Boxx is honored to be chosen to offer this state-of-the-art technology. Lightly threaded 3D content creation tools are limited by the frequency of the processor, so a faster clock speed means more creating and less waiting,” explains Boxx VP, marketing and business development Shoaib Mohammad.

Luke Scott to run newly created Ridley Scott Creative Group

Filmmaker Ridley Scott has brought together all of his RSA Films-affiliated companies together in a multi-business restructure to form the Ridley Scott Creative Group. The Ridley Scott Creative Group aims to strengthen the network across the related companies to take advantage of emerging opportunities across all entertainment genres as well as their existing work in film, television, branded entertainment, commercials, VR, short films, documentaries, music video, design and animation, and photography.

Ridley Scott

Luke Scott will assume the role of global CEO, working with founder Ridley Scott and partners Jake and Jordan Scott to oversee the future strategic direction of the newly formed group.

“We are in a new golden age of entertainment,” says Ridley Scott. “The world’s greatest brands, platforms, agencies, new entertainment players and studios are investing hugely in entertainment. We have brought together our talent, capabilities and creative resources under the Ridley Scott Creative Group, and I look forward to maximizing the creative opportunities we now see unfolding with our executive team.”

The companies that make up the RSCG will continue to operate autonomously but will now offer clients synergy under the group offering.

The group includes commercial production company RSA Films, which produced such ads such as Apple’s 1984, Budweiser’s Super Bowl favorite Lost Dog and more recently, Adidas Originals’ Original is Never Finished campaign, as well as branded content for Johnnie Walker, HBO, Jaguar, Ford, Nike and the BMW Films series; the music video production company founded by Jake Scott, Black Dog Films (Justin Timberlake, Maroon 5, Nicki Minaj, Beyoncé, Coldplay, Björk and Radiohead); the entertainment marketing company 3AM; commercial production company Hey Wonderful founded by Michael Di Girolamo; newly founded UK commercial production company Darling Films; and film and television production company Scott Free (Gladiator, Taboo, The Martian, The Good Wife), which continues to be led by David W. Zucker, president, US television; Kevin J. Walsh, president, US film; and Ed Rubin-Managing, director, UK television/film.

“Our Scott Free Films and Television divisions have an unprecedented number of movies and shows in production,” reports Luke Scott. “We are also seeing a huge appetite for branded entertainment from our brand and agency partners to run alongside high-quality commercials. Our entertainment marketing division 3AM is extending its capabilities to all our partners, while Black Dog is moving into short films and breaking new, world-class talent. It is a very exciting time to be working in entertainment.”

 

 

 

 

 

Cinna 4.13

MPC directs, provides VFX, color for Fiji Water spot

To launch the new Fiji Sports Cap bottle, Wonderful Agency came up with the concept of a drop of rain from the clouds high above Fiji making its way down through the pristine environment to showcase the source of their water. The story then transitions to the Fiji Water Sports Cap bottle being used by athletes during a tough workout.

To bring that idea to life, Wonderful Agency turned to MPC with creative director Michael Gregory, who made making his MPC directorial debut, helming both spots while also leading his VFX team. These spots will air on primetime television.

Gregory’s skills in visual effects made him the perfect fit as director of the spots, since it was essential to seamlessly depict the raindrop’s fast-paced journey through the different environments. MPC was tasked with building the CG water droplet that falls from the sky, while reflecting and magnifying the beauty of the scenes shot in Fiji.

“It was key to film in low light, cloudy conditions in Fiji,” explains Gregory. “We shot over five days with a drone in the most remote parts of the main island, taking the drone above the clouds and shooting many different angles on the descent, so we had all the textures and plates we needed.”

For the Fiji section, Gregory and team used the Zenmuse X7 camera that sits on a DJI Inspire 2 drone. “We chose this because logistically it was easier to get it to Fiji by plane. It’s a much smaller drone and isn’t as battery-hungry. You can only travel with a certain amount of batteries on a plane, and the larger drones that carry the Reds and Alexas would need the batteries shipped by sea. Being smaller meant it had much longer flying times. That meant we could have it in the air at height for much longer periods. The footage was edited in Adobe Premiere.”

MPC’s VFX team then got to work. According to lead compositor Oliver Caiden, “The raindrop itself was simulated CG geometry that then had all of the different textures refracted through the UV map. This process was also applied to the droplet reflections, mapping high dynamic range skies onto the outside, so we could achieve a more immersive and richer effect.”

This process enabled the compositors to animate the raindrops and have full control over motion blur, depth of focus, refraction and reflections, making them as realistic and multifaceted as possible. The shots were a mixture of multiple plates, matte painting, 2D and CG clouds, which ultimately created a sequence that felt seamless with reality. The spot was graded by MPC’s colorist Ricky Gausis.

The tools used by MPC were Autodesk Maya, Side Effects Houdini, Adobe Photoshop as well as Foundry Nuke for the VFX and FilmLight Baselight for color.

The latest Fiji campaign marks a continued partnership between MPC and Wonderful Agency — they previously handled VFX for Wonderful Pistachios and Wonderful Halos spots — but this latest campaign sees MPC managing the production from start to finish.

Therapy Studios provided the final audio mix.

 


Creating the 3D stereo version of Ron Howard’s Solo: A Star Wars Story

At Stereo D, a company that converts 2D theatrical content into stereoscopic 3D imagery, creating 3D editions of blockbuster movies takes hundreds of people working under the leadership of a dedicated stereo producer and stereographer team. For Solo: A Star Wars Story, the studio’s Tim Broderick and Yo Aoki talked to us about their collaboration and how they supported Ron Howard’s 3D vision for the film.

Yo Aoki

Can you talk about how your partnership works to produce a 3D version of every frame in a feature film?
Tim Broderick: Think of it this way — Yo is the artistic lead and I’m the one trying to give him as much of a runway as possible. My job entails a lot more of the phone calls to the client, setting up schedules and our pipelines and managing the material as it comes over to us. Yo’s focus is mainly in the theater and working with the stereo supervisors about his approach to each show. He homes in on what the style will be, analyzes each scene and builds a stereo plan for each.

Tim Broderick

Yo Aoki: Then we come together with the clients and all talk through the work… what they’re going for and how we can add to it using the 3D. We both have our strengths in the room with the clients and we play off each other very well and comfortably, which is why we’ve been doing this together for so long.

Did your collaboration begin at Stereo D?
Aoki: Yes. My first major project at Stereo D was James Cameron’s Titanic, but my history with Tim began with Godzilla and Jurassic Park 3D, where Tim was our production supervisor. Then we worked together with Tim serving as stereo producer on Jurassic World, followed by The BFG, Rogue One, The Mummy, Ready Player One and Solo.

So, you’re not the team that leads the 3D on the Star Wars episodes?
Broderick: Lucasfilm thought it made more sense to assign a dedicated team to the stories and another to the episodes as a practical matter since the schedules were overlapping.

How do you describe the aesthetic that applies to the 3D of Solo: A Star Wars Story compared to Rogue One?
Aoki: For Rogue One, Gareth Edwards and John Knoll preferred realism, while in Solo, Ron Howard and Rob Bredow preferred to make the 3D fun and comfortable. Different approaches and both worked for the experience each film offered.

Can you explain the difference between 3D realism and 3D fun and comfortable?
Broderick: Sure, for “realism” we take more of an analytical approach, making sure objects are correct in their spatial relationships. Is that rock the correct size in perspective to K2? No. It needs to be pushed positive so it’s larger. Whereas in “fun and comfortable,” we certainly keep things realistic, but the analytical approach is more Yo putting himself in the audience’s shoes and looking at each shot and asking 1) What can we do with this shot to make it just a little more of a fun ride for the audience? And 2) Is it comfortable? What do we need to sacrifice in terms of realism to help that?

What kind of guidance did director Ron Howard provide to inform your approach to the 3D?
Aoki: Take the Kessel Run sequence, which is a wild flight through fog and debris crashing into the ship as the team runs from TIE fighters and a giant monster. There was discussion early on about playing the sequence very shallow to avoid miniaturization of the Falcon and keep it to actual scale, but by doing that you lose the fun of the 3D tunnel effect of the environment they’re in, so Ron said to cheat the reality and make it more fun. There are also rocks and debris flying past the window, which Ron wanted to pull closer to the ship for more drama. The scale is unconventional, but it’s a lot more fun playing it this way. It adds to the impact of the scene.

You’ve worked with some pretty amazing directors — Steven Spielberg, Ron Howard, James Cameron — what’s the best part of the job?
Aoki: It’s been great. After each show we walk away with more ideas to offer the next filmmaker to use in their 3D storytelling.

Broderick: Definitely one of the most fun parts of what we do is spending time with filmmakers learning what they’re going for, presenting how we can aid that story in terms of 3D and having the creative flexibility to see it through.


Carbon creates four animated thrill ride spots

Carbon was called on once again by agency Cramer-Krasselt to create four spots — Railblazer, Twisted Timbers, Steel Vengeance and HangTime — for Cedar Fair Entertainment Company, which owns and operates 11 amusement parks across North America.

Following the success of Carbon’s creepy 2017 teaser film for the ride Mystic Timbers, Cramer-Krasselt senior art director David Vaca and his team presented Carbon with four ideas, each a deep dive into the themes and backstories of the rides.

Working across four 30-second films simultaneously and leading a “tri-coastal” team of artists, CD Liam Chapple shared directing duties with lead artists Tim Little and Gary Fouchy. The studio has offices in NYC, LA and Chicago.

According to Carbon executive producer/managing director Phil Linturn, “We soaked each script in the visual language, color grades, camera framing and edits reminiscent of our key inspiration films for each world — a lone gun-slinger arriving to town at sundown in the wild west, the carefree and nostalgic surf culture of California, and extreme off-roading adventures in the twisting canyons of the southwest.”

Carbon’s technical approach to these films was dictated by the fast turnaround and having all films in production at the same time. To achieve the richness, tone and detail required to immerse the viewer in these worlds, Carbon blended stylized CGI with hyper-real matte paintings and realistic lighting to create a look somewhere between their favorite children’s storybooks, contemporary manga animation, the Spaghetti Westerns of Sergio Leone and one or two of their favorite Pixar films.

Carbon called on Side Effects Houdini (partially for their procedural ocean toolkit), Autodesk Maya’s nCloth and 3ds Max, Pixologic’s Zbrush for 3D sculpting and matte painting, Foundry’s Nuke and FilmLight’s Baselight for color.

“We always love working with Cramer-Krasselt,” concludes Linturn. “They come with awesome concepts and an open mind, challenging us to surprise them with each new deck. This was a fantastic opportunity to expand on our body of full CGI-direction work and to explore some interesting looks and styles. It also allowed us to come up with some very creative workflows across all three offices and to achieve two minutes of animation in just a few weeks. The fact that these four films are part of a much bigger broadcast campaign comprising 70-plus broadcast spots is a testament to the focus and range of the production team.”


Quick Chat: Maxon focuses on highlighting women in mograph

By Randi Altman

Maxon is well known for having hands-on artists as presenters at their trade show booths. Highlighting these artists and their work — and streaming their presentations — has been intrinsic in what they do. Sometimes they also have artists on hand at press luncheons, where Maxon talks about their Cinema 4D product and advances that have been made while at the same time highlighting users’ work.

This year’s conversation was a bit different in that it featured an all-woman panel of motion graphics artists, including moderator Tuesday McGowan, Penelope Nederlander, Julia Siemón, Caitlin Cadieux, Robyn Haddow and Sarah Wickliffe. They talked about their career experiences, the everyday challenges women face to achieve recognition and gender parity in a male-dominated work environment and strategies women can use to advance their careers.

During the panel (which you can watch here), McGowan talked about how motion graphics, in general, is very young, and how she believes there will be a coming evolution of diversity, and not just women. “I think it will happen through awareness and panel discussions like this one that will actually increase the visibility and get the word out — to influence Generation Z, the next generation of women and people of color to get involved,” says Tuesday. “We think that the young women of Generation Z, who are more familiar and very confident with technology, will branch out and become great 3D artists.”

Paul Babb

We reached out to Maxon US president/CEO Paul Babb to find out about why promoting women in motion graphics is a cause he has dug into wholeheartedly.

How did the idea for a panel like this come about?
During one of the trade shows, we got beat up a little on one of the public forums for not having enough female artists presenting. At first I was angry because in the first place I think we had more female presenters than any other company at the show, and we have historically been sensitive to it.

Then I thought about it and realized we are one of the few companies streaming our presentations. So people who do not attend shows have no idea. So I decided we had to be more proactive about it and tried to come up with some ideas to encourage more women to come out to the shows. The idea of the panel seemed to be a great starting point — what better way to find out what would encourage women in the industry than to give successful women an opportunity to discuss it and share their insights?

Did the panel turn out the way you hoped?
Absolutely. Really, all I had hoped for was to contribute to a conversation that has already started. I wanted to give some great female artists a forum to share their experiences and hopefully encourage a new generation of female artists.

The conversation was great — candid, constructive and informative.

The panel generated frank conversation about the gender gap in 3D motion graphics. Topics examined included negotiating wages, mansplaining and being “talked-over,” the importance of flexible work time for women raising families, the need for women to seek out industry mentorship and tips for industry leaders to make workplace life inclusive to women.

What were a few takeaways from the panel?
I wasn’t surprised by any of the comments — good and bad. The biggest takeaway is that we have to find ways of encouraging more women in the industry, and encourage those in the industry to be more vocal.

What are the challenges they face and what do you think needs to change in the industry in general?
Other than the usual issues of a male-dominated society, the one thing that struck me is how women need to be more empowered — to toot their own horn, to recognize they are an expert and to stand up and be heard.

Maxon announced sponsorship of a new Women in Motion Graphics website. Tell us about the site offerings. Do you expect to continue to promote female graphic artists?
The Women in Motion Graphics website is intended as a resource to help women get ahead in the industry and to promote industry role models. It includes the video of the panel we organized at NAB 2018 featuring successful female artists, each working in different areas of the motion graphics business, addressing their struggles in the workplace. The artists who were on the panel share their insights into the motion graphics industry, its influencers and best practices for artists to achieve recognition. There is also a page with links to motion graphics education and training resources.

We will continue to sponsor the site and allow the women involved to drive its growth and evolution. In addition, we will continue to make great effort to get more women to come present for us at industry events, focus on doing customer profiles that feature women artists as well as sponsor scholarships and events that promote women in the industry.


Combining 3D and 360 VR for The Cabiri: Anubis film

Whether you are using 360 VR or 3D, both allow audiences to feel in on the action and emotion of a film narrative or performance, but combine the two together and you can create a highly immersive experience that brings the audience directly into the “reality” of the scenes.

This is exactly what film producers and directors Fred Beahm and Bogdan Darev have done in The Cabiri: Anubis, a 3D/360VR performance art film showing at the Seattle International Film Festival’s (SIFF) VR Zone on May 18 through June 10.

The Cabiri is a Seattle-based performance art group that creates stylistic and athletic dance and entertainment routines at theater venues throughout North America. The 3D/360VR film can now be streamed from the Pixvana app to the new Oculus Go headset, which is specifically designed for 3D and 360 streaming and viewing.

“As a director working in cinema to create worlds where reality is presented in highly stylized stories, VR seemed the perfect medium to explore. What took me by complete surprise was the emotional impact, the intimacy and immediacy the immersive experience allows,” says Darev. “VR is truly a medium that highlights our collective responsibility to create original and diverse content through the power of emerging technologies that foster curiosity and the imagination.”

“Other than a live show, 3D/360VR is the ideal medium for viewers to experience the rhythmic movement in The Cabiri’s performances. Because they have the feeling of being within the scene, the viewers become so engaged in the experience that they feel the emotional and dramatic impact,” explains Beahm, who is also the cinematographer, editor and post talent for The Cabiri film.

Beahm has a long list of credits to his name, and a strong affinity for the post process that requires a keen sense of the look and feel a director or producer is striving to achieve in a film. “The artistic and technical functions of the post process take a film from raw footage to a good result, and with the right post artist and software tools to a great film,” he says. “This is why I put a strong emphasis on the post process, because along with a great story and cinematography, it’s a key component of creating a noteworthy film. VR and 3D require several complex steps, and you want to use tools that simplify the process so you can save time, create high-quality results and stay within budget.”

For The Cabiri film, he used the Kandao Obsidian S camera, filming in 6K 3D360, then SGO’s Mistika VR for their stereo 3D optical-flow stitching. He edited in Adobe’s Premiere Pro CC 2018 and finished in Assimilate’s Scratch VR, using their 3D/360VR painting, tracking and color grading tools. He then delivered in 4K 3D360 to Pixvana’s Spin Studio.”

“Scratch VR is fast. For example, with the VR transform-and-vector paint tools I can quickly paint out the nadir, or easily delete unwanted artifacts like portions of a camera rig and wires, or even a person. It’s also easy to add in graphics and visual effects with the built-in tracker and compositing tools. It’s also the only software I use that renders content in the background while you continue working on your project. Another advantage is that Scratch VR will automatically connect to an Oculus headset for viewing 3D and 360,” he continues. “During our color grading session, Bogdan would wear an Oculus Rift headset and give me suggestions about changes I should make, such as saturation and hues, and I could quickly do these on the fly and save the versions for comparison.”


Quick Chat: FOM’s Adam Espinoza on DirecTV graphics campaign

By Randi Altman

Denver-based creative brand firm Friends of Mine (FOM) recently completed a graphics package for DirecTV Latin America that they had been working on for almost a year. The campaign, which first aired at the start of the 2017/2018 soccer season in August, has been airing on DirecTV’s Latin American network since then.

In addition to providing the graphics packages that ran on DirecTV Sports throughout the European Football League seasons (in Spain, England and France), FOM is currently creating graphics that will promote the World Cup games, set to take place between June 14 and July 15 in Russia.

Adam Espinoza

We reached out to FOM’s co-founder and creative director, Adam Espinoza, to find out more.

How early did you get involved in the piece? How much input did you have?
We were invited to the RFP process two months before the season started. We fully developed the look and concept from their written creative brief and objectives. We had complete input on the direction and execution.

What was it the client wanted to accomplish, and what did you suggest? 
The client wanted to convey the excitement of soccer throughout the season. There were two objectives: highlight the exclusive benefits of DirectTV for its subscribers while at the same time showing footage of goals and celebrations from the best players and teams in the world. We suggested the idea of intersections and digital energy.

Why did you think the visuals you created told the story the client needed? 
The digital energy graphics created a kinetic movement inherent in the sport while connecting the players around the league. The intersections concept helped to integrate the world of soccer seamlessly with DirecTV’s message.

What exactly did you provide services-wise on the piece? 
Conceptual design, art direction, 2D and 3D animation and video editing
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What gear/tools did you use for each of those services? 
Our secret sauce along with Cinema 4D, Adobe Premiere, Adobe After Effects and Adobe Illustrator.

What was the most challenging part of the process?
Evolving the look from month to month throughout the season and building to the climatic finals, while still staying true to the original concept.

What’s was your favorite part of the process?
Being able to fine tune a concept over such a stretch of time.


Framestore London adds joint heads of CG

Framestore has named Grant Walker and Ahmed Gharraph as joint heads of CG at its London studio. The two will lead the company’s advertising, television and immersive work alongside head of animation Ross Burgess.

Gharraph has returned to Framestore after a two-year stint at ILM, where he was lead FX artist on Star Wars: The Last Jedi, receiving a VES nomination in Outstanding Effects Simulations in a Photoreal Feature. His credits on the advertising-side as CG supervisor include Mog’s Christmas Calamity, which was Sainsbury’s 2015 festive campaign, and Shell V-Power Shapeshifter, directed by Carl Erik Rinsch.

Walker joined Framestore in 2009, and in his time at the company he has worked across film, advertising and television, building a portfolio as a CG artist with campaigns, including Freesat’s VES-nominated Sheldon. He was also instrumental in Framestore’s digital recreation of Audrey Hepburn in Galaxy’s 2013 campaign Chauffeur for AMV BBDO. Most recently, he was BAFTA-nominated for his creature work in the Black Mirror episode, “Playtest.”

Freefolk New York hires Flame artist Brandon Danowski

Freefolk’s New York studio has beefed up its staff with the addition of Brandon Danowski as lead Flame artist. Danowski joins Freefolk after spending four years at The Mill’s New York City office, where he worked on the NFL’s 2015 Super Bowl Babies spot, among other things.

His resume includes working on brand campaigns for Samsung, The New York Times, HBO, Verizon, Cadillac, Lincoln and TD Ameritrade. “I learned so much at The Mill, and it was brilliant being part of a global company of that scale. I’m now excited about working in the atmosphere of a boutique and am delighted to have joined the roster at Freefolk”.

Danowski started in the industry in 2010 as an intern with Beast, Company 3 and Method in Atlanta. He was brought on full time when his internship ended.

Working in TV, film and commercial projects, Freefolk provides full-service post and VFX, including 2D & 3D visual effects, high-end color grading, shoot supervision, animation, design, concept and direction.