Category Archives: motion graphics

Hush adds Eloise Murphy as senior producer

Design agency Hush has expanded its creative production team with the addition of senior producer Eloise Murphy. In her new position at Hush, Murphy will oversee all project phases and develop relationships with new and existing vendors.

During her career, Murphy has worked in the UK and North America for companies such as the BBC, TED and Moment Factory. Her resume is diverse, working on projects that range from content production for Madonna’s Rebel Heart Tour to experiential production for TED Talks in Rio de Janeiro. Her experience spans digital design, content production and experiential activations for brands including Samsung, Intel and BBC Radio 1.

“Having worked with a variety of brands, artists and companies, I have a solid understanding of how to manage projects optimally within different settings, parameters and environments,” says Murphy. “It has enabled me to be highly adaptable, flexible and develop a strong knack for pre-empting, identifying and resolving issues promptly and successfully. I believe my international experience has made me well-versed in managing complex projects and I’m looking forward to bringing new ideas to the table at Hush.”

Chris Hill & Sami Tahari

Imaginary Forces expands with EP Chris Hill and director of biz dev Sami Tahari

Imaginary Forces has added executive producer Chris Hill and director of business development Sami Tahari to its Los Angeles studio. The additions come at a time when the creative studio is looking to further expand their cross-platform presence with projects that mix VR/AR/360 with traditional, digital and social media.

Celebrating 20 years in business this year, the independently owned Imaginary Forces is a creative company specializing in brand strategy and visual storytelling encompassing many disciplines, including full-service design, production and post production. Being successful for that long in this business means they are regularly innovating and moving where the industry takes them. This led to the hiring of Hill and Tahari, whose diverse backgrounds will help strengthen the company’s long-standing relationships, as well as its continuous expansion into emerging markets.

Recent work of note includes main titles for Netflix’s beloved Stranger Things, the logo reveal for Michael Bay’s Transformers: The Last Knight and an immersive experience for the Empire State Building.

Hill’s diverse production experience includes commercials, experience design, entertainment marketing and branding for such clients as HBO Sports, Google, A&E and the Jacksonville Jaguars, among others. He joins Imaginary Forces after recently presiding over the broadcast division of marketing agency BPG.

Tahari brings extensive marketing, business and product development experience spanning the tech and entertainment spaces. His resume includes time at Lionsgate and Google, where he was an instrumental leader in the creative development and marketing of Google Glass.

“Imaginary Forces has a proven ability to use design and storytelling across any medium or industry,” adds Hill. “We can expand that ability to new markets, whether it’s emerging technologies, original content or sports franchises. When you consider, for example, the investment in massive screens and new technologies in stadiums across the country, it demands [that] same high level of brand strategy and visual storytelling.”

Our Main Image: L-R: Chris Hill and Sami Tahari.

G-Tech 6-15

Review: Nvidia’s new Pascal-based Quadro cards

By Mike McCarthy

Nvidia has announced a number of new professional graphic cards, filling out their entire Quadro line-up with models based on their newest Pascal architecture. At the absolute top end, there is the new Quadro GP100, which is a PCIe card implementation of their supercomputer chip. It has similar 32-bit (graphics) processing power to the existing Quadro P6000, but adds 16-bit (AI) and 64-bit (simulation). It is intended to combine compute and visualization capabilities into a single solution. It has 16GB of new HBM2 (High Bandwidth Memory) and two cards can be paired together with NVLink at 80GB/sec to share a total of 32GB between them.

This powerhouse is followed by the existing P6000 and P5000 announced last July. The next addition to the line-up is the single-slot VR-ready Quadro P4000. With 1,792 CUDA cores running at 1200MHz, it should outperform a previous-generation M5000 for less than half the price. It is similar to its predecessor the M4000 in having 8GB RAM, four DisplayPort connectors, and running on a single six-pin power connector. The new P2000 follows next with 1024 cores at 1076MHz and 5GB of RAM, giving it similar performance to the K5000, which is nothing to scoff at. The P1000, P600 and P400 are all low-profile cards with Mini-DisplayPort connectors.

All of these cards run on PCIe Gen3 x16, and use DisplayPort 1.4, which adds support for HDR and DSC. They all support 4Kp60 output, with the higher end cards allowing 5K and 4Kp120 displays. In regards to high-resolution displays, Nvidia continues to push forward with that, allowing up to 32 synchronized displays to be connected to a single system, provided you have enough slots for eight Quadro P4000 cards and two Quadro Sync II boards.

Nvidia also announced a number of Pascal-based mobile Quadro GPUs last month, with the mobile P4000 having roughly comparable specifications to the desktop version. But you can read the paper specs for the new cards elsewhere on the Internet. More importantly, I have had the opportunity to test out some of these new cards over the last few weeks, to get a feel for how they operate in the real world.

DisplayPorts

Testing
I was able to run tests and benchmarks with the P6000, P4000 and P2000 against my current M6000 for comparison. All of these test were done on a top-end Dell 7910 workstation, with a variety of display outputs, primarily using Adobe Premiere Pro, since I am a video editor after all.

I ran a full battery of benchmark tests on each of the cards using Premiere Pro 2017. I measured both playback performance and encoding speed, monitoring CPU and GPU use, as well as power usage throughout the tests. I had HD, 4K, and 6K source assets to pull from, and tested monitoring with an HD projector, a 4K LCD and a 6K array of TVs. I had assets that were RAW R3D files, compressed MOVs and DPX sequences. I wanted to see how each of the cards would perform at various levels of production quality and measure the differences between them to help editors and visual artists determine which option would best meet the needs of their individual workflow.

I started with the intuitive expectation that the P2000 would be sufficient for most HD work, but that a P4000 would be required to effectively handle 4K. I also assumed that a top-end card would be required to playback 6K files and split the image between my three Barco Escape formatted displays. And I was totally wrong.

Besides when using the higher-end options within Premiere’s Lumetri-based color corrector, all of the cards were fully capable of every editing task I threw at them. To be fair, the P6000 usually renders out files about 30 percent faster than the P2000, but that is a minimal difference compared to the costs. Even the P2000 was able to playback my uncompressed 6K assets onto my array of Barco Escape displays without issue. It was only when I started making heavy color changes in Lumetri that I began to observe any performance differences at all.

Lumetri

Color correction is an inherently parallel, graphics-related computing task, so this is where GPU processing really shines. Premiere’s Lumetri color tools are based on SpeedGrade’s original CUDA processing engine, and it can really harness the power of the higher-end cards. The P2000 can make basic corrections to 6K footage, but it is possible to max out the P6000 with HD footage if I adjust enough different parameters. Fortunately, most people aren’t looking for more stylized footage than the 300 had, so in this case, my original assumptions seem to be accurate. The P2000 can handle reasonable corrections to HD footage, the P4000 is probably a good choice for VR and 4K footage, while the P6000 is the right tool for the job if you plan to do a lot of heavy color tweaking or are working on massive frame sizes.

The other way I expected to be able to measure a difference between the cards would be in playback while rendering in Adobe Media Encoder. By default, Media Encoder pauses exports during timeline playback, but this behavior can be disabled by reopening Premiere after queuing your encode. Even with careful planning to avoid reading from the same disks as the encoder was accessing from, I was unable to get significantly better playback performance from the P6000 compared to the P2000. This says more about the software than it says about the cards.

P6000

The largest difference I was able to consistently measure across the board was power usage, with each card averaging about 30 watts more as I stepped up from the P2000 to the P4000 to the P6000. But they all are far more efficient than the previous M6000, which frequently sucked up an extra 100 watts in the same tests. While “watts” may not be a benchmark most editors worry too much about, among other things it does equate to money for electricity. Lower wattage also means less cooling is needed, which results in quieter systems that can be kept closer to the editor without being distracting from the creative process or interfering with audio editing. It also allows these new cards to be installed in smaller systems with smaller power supplies, using up fewer power connectors. My HP Z420 workstation only has one 6-pin PCIe power plug, so the P4000 is the ideal GPU solution for that system.

Summing Up
It appears that we have once again reached a point where hardware processing capabilities have surpassed the software capacity to use them, at least within Premiere Pro. This leads to the cards performing relatively similar to one another in most of my tests, but true 3D applications might reveal much greater differences in their performance. Further optimization of CUDA implementation in Premiere Pro might also lead to better use of these higher-end GPUs in the future.


Mike McCarthy is an online editor and workflow consultant with 10 years of experience on feature films and commercials. He has been on the forefront of pioneering new solutions for tapeless workflows, DSLR filmmaking and now multiscreen and surround video experiences. If you want to see more specific details about performance numbers and benchmark tests for these Nvidia cards, check out techwithmikefirst.com.


Reel FX hires Chad Mosley as senior designer

Chad Moseley has joined Reel FX as senior designer. Moseley brings with him nearly a decade of experience in motion graphics and design, spanning television, advertising and broadcast promos.

He comes to Reel FX, which has offices in Dallas and Santa Monica, from Starz Entertainment, where he spent two years as a broadcast designer, concepting and executing promotions for original programming on series such as Outlander, Da Vinci’s Demons and Flesh and Bone, including teasers, spots and graphics packages. His work for brands such as Enterprise, Nestle, Purina and Busch Gardens has earned him a Gold American Advertising Award (AAA), a Gold Addy Award and an AAF Best of Digital Award.

Texas native Moseley studied graphic design and 3D animation in Denver. He developed his career at a Texas news channel, handling the video and graphics for the channel’s website. While there he learned post production. He then worked as a video editor/animator at Denver-based ORCC, later relocating to St. Louis to take a position as senior motion graphics/VFX artist at 90 Degrees West. While there, he contributed to post projects from concept through completion for national brands including Anheuser Busch, Enterprise and UPS, among others. An opportunity as an in-house broadcast designer at Starz Entertainment led Moseley back to Denver in 2014, before once again returning to Dallas once again to join the Reel FX team.


ESPN’s NBA coverage gets a rebrand

The bi-coastal studio Big Block recently collaborated with ESPN to develop, design and animate a rebrand package that promotes their NBA coverage. With nearly a year of design development, the studio’s role expanded beyond a simple production partner, with Big Block executive creative director Curtis Doss and managing director Kenny Solomon leading the charge.

The package, which features a rich palette of textures and fluid elegance, was designed to reflect the style of the NBA. Additionally, Big Block embedded what they call “visual touchstones” to put the spotlight on the stars of the show — the NBA players, the NBA teams and the redesigned NBA and ESPN co-branded logo.

Big Block and ESPN’s creative teams — which included senior coordinating producer for the NBA on ESPN Tim Corrigan — collaborated closely on the logos. The NBA’s was reconfigured and simplified, allowing it to combine with ESPN’s as well as support the iconic silhouette of Jerry West as the centerpiece of the new creation.

Next, the team worked on taking the unique branding and colors of each NBA team and using them as focal points within the broadcasts. Team logos were assembled and rendered and given textures and fast-moving action, providing the broadcast with a high-end look that Big Block and ESPN feel match the face of the league itself.

Big Block provided ESPN with a complete toolkit for the integration of live game footage with team logos, supers, buttons and transitions, as well as team and player-based information like player comparisons and starting lineups. The materials were designed to be visually cohesive between ESPN’s pre-show, game and post-show broadcasts, with Big Block crafting high-end solutions to keep the sophisticated look and feel consistent across the board.

When asked if working with such iconic logos added some challenges to the project, Doss said, “It definitely adds pressure anytime your combining multiple brands, however it was not the first time ESPN and NBA have collaborated, obviously. I will say that there were needs unique to each brand that we absolutely had to consider. This did take us down many paths during the design process, but we feel that the result is a very strong marriage of the two icons that both benefit from a brand perspective.”

In terms of tools, the studio called on Adobe’s Creative Suite and Maxon Cinema 4D. Final renders were done in Cinema 4D’s Physical Render.


Wacom’s Intuos Pro Paper Edition lets artists sketch old-school

Do you miss the days of just pulling out your sketchpad and letting your creative energy flow? Well, Wacom has a new solution for you that bridges old-school paper-and-ink drawings with portable digital technology.

Wacom is at CES showing its new Intuos Pro and Intuos Pro Paper Edition pen and touch tablets. While the two products have similar functionality, the Intuos Pro Paper Edition gives artists the ability to incorporate paper into their workflow — and when not used with paper, this version will also function as a regular Intuos Pro.

The tablet allows ink-on-paper drawings to be captured and stored digitally on the Intuos Pro Paper Edition so they can be refined later on the tablet with any compatible layered raster or vector software application. This means no more scanning.

“The Paper Edition lets artists secure a paper on the device and sketch, draw or write with an real ink, analog pen, while it captures the information digitally because it is seated on our Electro-Magnetic Resonance board and stored for later use,” explains Wacom’s Doug Little.

Little also emphasizes that while the Paper Edition does function as a Intuos Pro when paper isn’t involved, the newest Intuos Pro is “thinner and lighter and features our new Pro Pen 2 (4x the pressure-sensitivity of our previous pen). It also features the same ExpressKeys for creating shortcuts and modifiers.”

Wacom Intuos ProThe new Intuos Pro is less than half an inch thick but offers the same sized active area in a smaller overall footprint. It comes equipped with anodized aluminum backing, a smaller pen stand with 10 nibs and a new pen case. Both sizes of the Intuos Pro, Medium and Large, use a TouchRing, Multi-Touch and eight ExpressKeys for the creation of customized shortcuts to speed up the creative workflow.

The Paper Edition adds a Paper Clip (to attach the artists favorite drawing paper), pressure-sensitive Finetip gel ink pen and the Wacom Inkspace App to convert drawings for use with leading creative software applications. The Inkspace App environment also allows users to easily store and share their artwork.

The new Wacom Pro Pen 2 comes with both the Intuos Pro and Intuos Pro Paper Edition. This new pen features 4X the pressure sensitivity than the former Pro Pen, delivering 8,192 levels of pressure to support a natural and intuitive creative process.

The recently released Wacom Finetip Pen, included with the Intuos Pro Paper Edition, provides smooth-gel ink. Designed for those who begin their creative process on paper, the Finetip lets users visually depict ideas that are automatically digitized. Users can also select a Ballpoint Pen as an optional purchase.

Available in medium and large models, Intuos Pro is Bluetooth-enabled and compatible with Macs and PCs. The Intuos Pro Medium ($349.95 USD) and Large ($499.95 USD) will be available this month.

Intuos Pro Paper Edition will contain added features as a bundled package to enable paper-to-digital creation. The Intuos Pro Paper Edition Medium ($399.95) and Large ($549.95) will be available this month as well.


New Wacom Cintiq Pro line offers portability, updated pen, more

Wacom has introduced a new line of Wacom Cintiq Pro creative pen displays: the Cintiq Pro 13 and Cintiq Pro 16. The Wacom Cintiq Pro features a thin and portable form factor, making them suitable for working on the road or remotely.

Cintiq Pro’s new Pro Pen 2, according to Wacom, offers four times greater accuracy and pressure sensitivity than the previous Pro Pen. The improved Pro Pen 2 creates an intuitive experience with virtually lag-free tracking on a glass surface that produces the right amount of friction, and is coated to reduce reflection.

Additionally, the new optical bonding process reduces parallax, providing a pen-on-screen performance that feels natural and has the feedback of a traditional pen or brush. Both Cintiq Pro models also feature multi-touch for easy and fast navigation, as well as the ability to pinch, zoom and rotate illustrations, photos or models within supporting 2D or 3D creative software apps.

Both high-resolution Cintiq Pro models come with an optimized edge-to-edge etched glass workspace. The Cintiq Pro also builds on its predecessor, the Cintiq 13HD touch, offering the ExpressKey Remote as an optional accessory so users can customize their most commonly used shortcuts and modifiers when working with their most-used software applications. In addition, ergonomic features, such as ErgoFlex, fully integrated pop out legs and an optional three-position desk stand (available in February), let users focus on their work instead of constantly adjusting for comfort.

The Wacom Cintiq Pro 13 and 16 are compatible with both Macs and PCs and feature full HD (1920×1080) and UHD (3840×2160) resolution, respectively. Both Cintiq Pro configurations deliver vivid colors, the 13-inch model providing 87 percent Adobe RGB and the 16-inch, 94 percent.

Priced at $999.95 USD, the Cintiq Pro 13 is expected to be available online and at select retail locations at the beginning of December. The Cintiq Pro 16, $1499.95 USD, is expected in February.


Super Hero music video gets Aardman Nathan Love treatment

The Aardman Nathan Love animation studio recently finished design and animation work on director Kris Merc’s music video for Super Hero, the leadoff single from Kool Keith’s new album Feature Magnetic that is a collaboration with MF Doom.

The video starts with a variety of hypnotic imagery, from eye charts to kaleidoscopic wheels, with Doom’s iconic, ever-rotating mask as its centerpiece.

“Being a huge fan of both Kool Keith and MF Doom for years, and knowing our studio had capacity to help Kris out, we couldn’t not get involved,” recalls Aardman Nathan Love (ANL) founder/executive creative director Joe Burrascano. “Kris was able to let his imagination run wild. ANL’s team of designers, 3D artists and technical directors gave him the support he needed to help shape his vision and make the final piece as strong and unique as possible.”

According to Merc, who’s helmed notable projects from music videos for hip-hop pioneers De La Soul to spots for HTC during his lengthy career, the Super Hero production afforded him the space to realize his vision of bending and manipulating pop aesthetics to create something altogether mysterious and otherworldly. “I wanted to capture something that felt like a visual pop travesty,” explains the director. “I wanted it to visually speak to the legacy of the artists, and Afrofuturism mixed with comic book concepts. I’m a fan of the unseen, and I was obsessed with the idea of using Doom’s mask and the iconography as a centralized point – as if time and space converged around these strange, sometimes magical tableaus and we were witnessing an ascension.”

To help develop his concepts, Merc worked closely with Aardman Nathan Love in several key stages of production from the idea and design stage to technical aspects like compositing and rendering. “Our specialty lies mainly in CG character animation work, which typically involves a lot of careful planning and development work up front,” adds ANL CG director Eric Cunha. “Kris has a very organic process, and is constantly finding inspiration for new and exciting ideas. The biggest challenge we faced was being able to respond to this constant flow of new ideas, and facilitate the growth of the piece. In the end, it was an exciting new challenge that pushed us to develop a new way of working that resulted in an amazing, visually fresh and creative piece of work.”

Zbrush was used to create some of the assets, and Autodesk Maya was Aardman Nathan Love’s main animation tool. Most of the rendering was done in Maxwell, aside of two or so shots that were done in Arnold.


FCPX Creative Summit keynotes announced

Later this month, in Cupertino, California, Apple Final Cut Pro X editors and potential users will be attending the second annual FCPX Creative Summit. The three-day event will take place October 27-30.

The keynote line-up consists of two panels: the first features directors Glenn Ficarra and John Requa, along with editor Jan Kovac. The trio worked together on two of the first feature films edited in Final Cut Pro X — Focus and Whiskey Tango Foxtrot.

The second panel includes two-time Emmy-winner Chuck Braverman, Supersphere VR executive producer Lucas Wilson and creative director Duncan Shepherd.

Organized by Future Media Concepts (FMC), in collaboration with Apple, this year’s event will take place next door to the Apple Campus. In addition to the keynote presentations, there will be 30-plus sessions focused on editorial, motion graphics, workflow and case studies.

postPespective readers can save $125 off of registration with code: POST16.

Trippy Empire of the Sun music video mixes live-action and animation

NYC’s Roof Studio recently partnered with Australian music duo Empire of the Sun on their music video High and Low, a surreal visual journey into a psychedelic trip, which captures the song’s celebration of the innocence and boldness of youth. The lead single from the band’s upcoming Two Vines LP, “High and Low” follows a small group of people as they are guided by a Shaman into the forest to indulge in the experience of mind-changing substances. Using a mix of live-action and animation, the video shows the group’s trip experience — the Empire of the Sun members serve as “emperors.”

Roof and Empire of the Sun previously worked together on the Honda Civic The Dreamer spot via ad agency RPA, which combined Roof’s visual language and direction with the band’s “Walking on a Dream” track.

“We recognized that there was something special in our initial partnership,” says Vinicius Costa, Roof Studio co-founder/director. “[The band] wanted a psychedelic film with a strong connection to nature to visually, yet indirectly, represent the mind-bending journey. However, they were open to our ideas on execution.”

The only constraints Luke Steele and Nick Littlemore had were not to take a too-literal approach to the visualization of the lyrics. In contrast to the duo’s previous album’s desert landscape art direction, this time around they wanted to explore a tropical environment. Initially, Roof sought to create the entire film in CG, however, due to the limited timeframe of three weeks, they felt it was best to combine live-action with animation in order to focus on providing more than 40 realistic CG shots. This shift in direction spurred the studio to develop the natural and psychedelic narratives that tie together.

“The band came to us with a clear point of view, even referencing aspects of some of our previous work,” says Guto Terni, Roof Studio co-founder/director. “From there, we created a loose narrative based on the right balance of live-action and post production visuals. As directors, we engage in every step of the process, from concept to storyboarding and pre-visualization to shooting, and finally, post production and finishing. This project really showcased our full range of capabilities.”

Roof’s directors, Costa, Terni and Sam Mason, were on set for both live-action shoots, including the band shoot in a Los Angeles studio, and the actors and extras shoot in Costa Rica, which provided the tropical aesthetics. Roof had one week to plan and facilitate both shoots and then two weeks to execute the ambitious CG animation.

Roof used a 3D scan of Steele and Littlemore through a technique called photogrammetry in order to create the telescope shot featured in the video. This process created multiple images of the band in which the studio was able to generate a 3D version of its members. From there, Roof added cloth simulation in CG to mimic wind blowing their clothes for more believability. The result is a fantastic shot in which only the band members’ faces are real and the remaining is CG.

Roof used a mix of technology, including Nuke, After Effects, Maya, Modo, 3D Max and Corona to blend of live-action and animation.