Category Archives: VFX

The Third Floor: Previs and postvis for Wonder Woman

To help realize the cinematic world of Warner Bros.’s Wonder Woman, artists at The Third Floor London, led by Vincent Aupetit, visualized key scenes using previs and postvis. Work spanned nearly two years, as the team collaborated with director Patty Jenkins and visual effects supervisor Bill Westenhofer to map out key action and visual effects scenes.

Previs was also used to explore story elements and to identify requirements for the physical shoot as well as visual effects. Following production, postvis shots with temp CG elements stood in for finals as the editorial cut progressed.

We checked in with previs supervisor Vincent Aupetit at The Third Floor London to find out more.

Wonder Woman is a good example of filmmaking that leveraged not just the technical, but also the creative advantages of previs. How can a director maximize the benefits of having a previs team?
Each project is different, with different needs and opportunities as well as creative styles, but for Wonder Woman our director worked very closely with us and got involved with previs and postvis as much as she could. Even though this was her first time using previs, she was open and enthusiastic and quickly recognized the possibilities. She engaged with us and used our resources to further develop the ideas she had for the story and action, including iconic moments she envisioned for the main character. Seeing the ideas she was after successfully portrayed as moving previs was exciting for her and motivating for us.

How do you ensure what is being visualized translates to what can be achieved through actual filming and visual effects?
We put a big emphasis on shooting methodology and helping with requirements for the physical shoot and visual effects work — even when we are not specifically doing techvis diagrams or schematics. We conceive previs shots from the start with a shooting method in mind to make sure no shots represented in previs would prove impossible to achieve down the line.

What can productions look to previs for when preparing for large-scale visual effects scenes?
Of course, previs can be an important guide in deciding what parts of sets to build, determining equipment, camera and greenscreen needs and having a roadmap of shots. The previs team is in a position to gather input across many departments — art department, camera department, stunt department and visual effects — and effectively communicate the vision and plan.

But another huge part of it creating a working visual outline for what the characters are doing and what action is happening. If a director wants to try different narrative beats, or put them in a new order, they can do that in the previs world before committing to the shoot. If they want to do multiple iterations, it’s possible to do that before embarking on production. All of this helps streamline complexities that are already there for intensive action and visual effects sequences.

On Wonder Woman, we had a couple of notable scenes, including the beach battle, where we combined previs, storyboards and fight tests to convey a sense of how the story and choreography would unfold. Another was the final battle in the third act of the film. It’s an epic 40 minutes that includes a lot of conceptual development. What is the form and shape of Ares, the movie’s antagonist, as he evolves and reveals his true god nature? What happens in each blow of his fight with Diana on the airfield? How do her powers grow, and what do those abilities look like? Previs can definitely help answer important questions that influence the narrative as well as the technical visuals to be produced.

How can directors leverage the postvis process?
Postvis has become more and more instrumental, especially as sequences go through editorial versions and evolving cuts. For Wonder Woman, the extensive postvis aided the director in making editorial choices when she was refining the story for key sequences.

Being able to access postvis during and after reshoots was very helpful as well. When you can see a more complete picture of the scene you have been imagining, with temp characters and backdrops in place, your decisions are much more informed.

How do you balance the ability to explore ideas and shots with the need to turn them around quickly?
This is one of the qualities of previs artists — we need to be both effective and flexible! Our workflow has to sustain and keep track of shots, versions and approvals. On Wonder Woman, our on-board previs editor literally did wonders keeping the show organized and reacting near instantaneously to director or visual effects supervisor requests.

The pace of the show and the will to explore and develop with a passionate director led to our producing an astonishing number of shots at a very rapid rate despite a challenging schedule. We also had a great working relationship, where we were trusted truly and fully by the client and repaid this trust by meeting deliveries with a high level of professionalism and quality.

Behind the Title: Weta Workshop’s Jason Aldous

NAME: Jason Aldous

COMPANY: Wellington, New Zealand’s Weta Workshop

CAN YOU DESCRIBE YOUR COMPANY?
A weird and wonderful (emphasis on wonderful) collection of artists, craftspeople and some of the most creative minds I’ve ever had the pleasure of meeting. Any one day can have leading costume designers, sword-smiths and game creators working under a single roof.

WHAT’S YOUR JOB TITLE?
Project manager for communications & media production.

WHAT DOES THAT ENTAIL?
On the surface it sounds pretty straightforward: product marketing and product packaging. But like a lot of things at Weta Workshop, once you jump aboard the train it turns out to be more like a roller coaster.

On a daily basis this role could involve product design, presentations, photo shoots, brainstorm sessions, client visits and modeling. But the heart of the role is making sure we’ve got everything we need (information, planning, resources and inspiration) to make sure every project meets the Weta Workshop standard.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
This is the type of role that can scale up or down in responsibility depending on the size of the project and the size of the team. In a smaller team on a small project, you could spend time being involved in planning, creative, copyediting and graphic design. In a larger team on a big project you keep it to the basics while the team cover their bases.

WHAT’S YOUR FAVORITE PART OF THE JOB?
When the schedules fall into alignment, everything is perfectly balanced, and the team is creatively challenged.

WHAT’S YOUR LEAST FAVORITE?
When we’ve made way for an urgent request and everything is looking steady and then… a second urgent request rolls in. With such a wide and varied company with clients, fans, employees and projects from all over the world, the surprises are unavoidable, but it’s pretty rewarding to deliver on too!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Afternoon walk. There’s always someone thoughtful enough to round up a few people at a time for a walk. It’s a good time to get fresh air, talk about work, not talk about work and generally give your head a bit of a refresh before truckin’ on to the end of the day.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d be getting back to planning some short films. Ideally ones that involve food.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I wasn’t initially looking to re-enter the field of graphic design, but I saw a compelling role that I fit the bill perfectly for. The appeal of working at Weta Workshop helped push me out of my comfort zone in editorial to keep developing in another field.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
The Art & Craft of Weta Workshop exhibition in Wuhan — sharing the work we do with people who might not have the chance to visit us in Wellington. Also brand development for the Mini Epics line of collectibles. I really love the product packaging we’ve come up with and I can’t wait to see it on shelves.

GKR: Heavy Hitters was my first time working on a board game. Plus, it’s an IP of our own, created by three artists who I had admired from afar for a really long time!

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Recently, Middle-earth: From Script to Screen. I can’t claim a great deal of ownership over this project, but to have been involved with a team of experts detailing how the world of Middle-earth was built for screen has been an absolute privilege and an adventure.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Fujifilm x100 (taking photos)
iPhone (viewing photos)
Printing press (properly viewing photos)

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I stay tuned to Twitter personally and professionally. But my favorite place for social media content is Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Daft Punk’s Tron: Legacy has been my go-to night shift and focus-inducing music for years. There’s always a place for The Commodores on the late-night playlist too!

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I used get out for a run on my lunch break, if I could. I think I’ve taken a change of pace and moved onto dog walks. But nothing can beat a multi-day hike in the New Zealand bush!

Dell 6.15

More speakers added for Italy’s upcoming View Conference

More than 50 speakers are confirmed for 2017’s View Conference, a digital media conference that takes place in Turin, Italy, from October 23-27. Those speakers include six visual effects Oscar winners, two Academy Sci-Tech award winners, animated feature film directors, virtual reality pioneers, computer graphics researchers, game developers, photographers, writers and studio executives.

“One of the special reasons to attend View is that our speakers like to stay for the entire week and attend talks given by the other speakers, so our attendees have many opportunities to interact with them,” says conference director Dr. Maria Elena Gutierrez. “View brings together the world’s best and brightest minds across multiple disciplines, in an intimate and collaborative place where creatives can incubate and celebrate.”

Newly confirmed speakers include:

Scott Stokdyk- This Academy Award winner (VFX supervisor, Valerian and the City of a Thousand Planets) will showcase VFX from the film – from concept, design and inspiration to final color timing.

Paul Debevec – This Academy Award winner (senior staff engineer, Google VR, ICT) will give attendees a glimpse inside the latest work from Google VR and ICT.

Martyn Culpitt – A VFX supervisor on Logan and at Image Engine company, he will breakdown the film Logan, highlighting the visual effects behind Wolverine’s gripping final chapter.

Jan-Bart Van Beek – This studio art director at Guerrilla Games will take attendees through the journey that Guerrilla Games underwent to design the post-apocalyptic world of the game franchise, Horizon Zero Dawn.

David Rosenbaum – This chief creative officer at Cinesite Studios along with Cinesite EP Warren Franklin will present at talk titled, “It’s All Just Funny Business: Looking for IP, Talent ad Audiences.”

Elisabeth Morant – This product manager for Google’s Tilt Brush will discusses the company’s VR painting application in a talk called, “Real Decisions, Virtual Space: Designing for VR.”

Donald Greenberg – This professor of computer graphics at Cornell University will be discussing the “Next-gen of Virtual Reality”

Steve Muench – He will present “The Labor of Loving Vincent: Animating Van Gogh to Solve a Mystery.”

Deborah Fowler – This professor of visual effects at Savannah College of Art and Design/SCAD will showcase “Procedural and Production Techniques using Houdini.”

Daniele Federico: This co-founder and developer at Toolchefs will present “Make us Alive. An In-Depth Look at Atoms Crowd Software.”

Jason Bickerstaff – This character artist from Pixar Animation Studios) will present “Crossing The Dimensional Rift.”

Steve Beck – This VFX art director from ILM will discuss “The Future of Storytelling.”

Nancy Basi – She is executive director of the Film and Media Centre – Vancouver Economic Commission.

For a complete listing of speakers visit http://www.viewconference.it/speakers

 


postPerspective Impact Award winners from SIGGRAPH 2017

Last April, postPerspective announced the debut of our Impact Awards, celebrating innovative products and technologies for the post production and production industries that will influence the way people work. We are now happy to present our second set of Impact Awards, celebrating the outstanding offerings presented at SIGGRAPH 2017.

Now that the show is over, and our panel of VFX/VR/post pro judges has had time to decompress, dig out and think about what impressed them, we are happy to announce our honorees.

And the winners of the postPerspective Impact Award from SIGGRAPH 2017 are:

  • Faceware Technologies for Faceware Live 2.5
  • Maxon for Cinema 4D R19
  • Nvidia for OptiX 5.0  

“All three of these technologies are very worthy recipients of our first postPerspective Impact Awards from SIGGRAPH,” said Randi Altman, postPerspective’s founder and editor-in-chief. “These awards celebrate companies that define the leading-edge of technology while producing tools that actually make users’ working lives easier and projects better, and our winners certainly fall into that category.

“While SIGGRAPH’s focus is on VFX, animation, VR/AR and the like, the types of gear they have on display vary. Some are suited for graphics and animation, while others have uses that slide into post production. We’ve tapped real-world users in these areas to vote for our Impact Awards, and they have determined what tools might be most impactful to their day-to-day work. That’s what makes our awards so special.”

There were many new technologies and products at SIGGRAPH this year, and while only three won an Impact Award, our judges felt there were other updates that it was important to let people know about as well.

Blackmagic Design’s Fusion 9 was certainly turning heads and Nvidia’s VRWorks 360 Video was called out as well. Chaos Group also caught our judges attention with V-Ray for Unreal Engine 4.

Stay tuned for future Impact Award winners in the coming months — voted on by users for users — from IBC.


WAR FOR THE PLANET OF THE APES

Editor William Hoy — working on VFX-intensive War for the Planet of the Apes

By Mel Lambert

For William Hoy, ACE, story and character come first. He also likes to use visual effects “to help achieve that idea.” This veteran film editor points to director Zack Snyder’s VFX-heavy I, Robot, director Matt Reeves’ 2014 version of Dawn of the Planet of the Apes and his new installment, War for the Planet of the Apes, as “excellent examples of this tenet.”

War for the Planet of the Apes, the final part of the current reboot trilogy, follows a band of apes and their leader as they are forced into a deadly conflict with a rogue paramilitary faction known as Alpha-Omega. After the apes suffer unimaginable losses, their leader begins a quest to avenge his kind, and an epic battle that determines the fate of both their species and the future of our planet.

Marking the picture editor’s second collaboration with Reeves, Hoy recalls that he initially secured an interview with the director through industry associates. “Matt and I hit it off immediately. We liked each other,” Hoy recalls. “Dawn of the Planet of the Apes had a very short schedule for such a complicated film, and Matt had his own ideas about the script — particularly how the narrative ended. He was adamant that he ‘start over’ when he joined the film project.

“The previous Dawn script, for example, had [the lead ape character] Caesar and his followers gaining intelligence and driving motorized vehicles,” Hoy says. “Matt wanted the action to be incremental which, it turned out, was okay with the studio. But a re-written script meant that we had a very tight shoot and post schedule. Swapping its release date with X-Men: Days of Future Past gave us an additional four or five weeks, which was a huge advantage.”

William Hoy, ACE (left), Matt Reeves (right).

Such a close working relationship on Dawn of the Planet of the Apes meant that Hoy came to the third installment in the current trilogy with a good understanding of the way that Reeves likes to work. “He has his own way of editing from the dailies, so I can see what we will need on rough cut as the filmed drama is unfolding. We keep different versions in Avid Media Composer, with trusted performances and characters, and can see where they are going” with the narrative. Having worked with Reeves over the past two decades, Stan Salfas, ACE, served as co-editor on the project, joining prior to the Director’s Cut.

A member of The Academy of Motion Picture Arts And Sciences, Hoy also worked with director Randall Wallace on We Were Soldiers and The Man in the Iron Mask, with director Phillip Noyce on The Bone Collector and director Zack Snyder on Watchmen, a film “filled with emotional complexity and heavy with visual effects,” he says.

An Evolutionary Editing Process
“Working scene-by-scene with motion capture images and background artwork laid onto the Avid timeline, I can show Matt my point of view,” explains Hoy. “We fill in as we go — it’s an evolutionary process. I will add music and some sound effects for that first cut so we can view it objectively. We ask, ‘Is it working?’ We swap around ideas and refine the look. This is a film that we could definitely not have cut on film; there are simply too many layers as the characters move through these varied backgrounds. And with the various actors in motion capture suits giving us dramatic performances, with full face movements [CGI-developed facial animation], I can see how they are interacting.”

To oversee the dailies on location, Hoy set up a Media Composer editing system in Vancouver, close to the film locations used for principal photography. “War for the Planet of the Apes was shot on Arri Alexa 65 digital cameras that deliver 6K images,” the editor recalls. “These files were down-sampled to 4K and delivered to Weta Digital [in New Zealand] as source material, where they were further down-sampled to 2K for CGI work and then up-sampled back to 4K for the final release. I also converted our camera masters to 2K DNxHD 32/36 for editing color-timed dailies within my Avid workstation.”

In terms of overall philosophy, “we did not want to give away Caesar’s eventual demise. From the script, I determined that the key arc was the unfolding mystery of ‘What is going on?’ And ‘Where will it take us?’ We hid that Caesar [played by Andy Serkis] is shot with an arrow, and initially just showed the blood on the hand of the orangutan, Maurice [Karin Konoval]; we had to decide how to hide that until the key moment.”

Because of the large number of effect-heavy films that Hoy has worked on, he is considered an action/visual effects editor. “But I am drawn to performances of actors and their characters,” he stresses. “If I’m not invested in their fate, I cannot be involved in the action. I like to bring an emotional value to the characters, and visualize battle scenes. In that respect Matt and I are very much in tune. He doesn’t hide his emotion as we work out a lot of the moves in the editing room.”

For example, in Dawn of The Planet of The Apes, Koba, a human-hating Bonobo chimpanzee who led a failed coup against Caesar, is leading apes against the human population. “It was unsatisfying that the apes would be killing humans while the humans were killing apes. Instead, I concentrated on the POV of Caesar’s oldest son, Blue Eyes. We see the events through his eyes, which changed the overall idea of the battle. We shot some additional material but most of the scene — probably 75% — existed; we also spoke with the FX house about the new CGI material,” which involved re-imaged action of horses and backgrounds within the Virtual Sets that were fashioned by Weta Digital.

Hoy utilized VFX tools on various layers within his Media Composer sessions that carried the motion capture images, plus the 3D channels, in addition to different backgrounds. “Sometimes we could use one background version and other times we might need to look around for a new perspective,” Hoy says. “It was a trial-and-error process, but Matt was very receptive to that way of working; it was very collaborative.”

Twentieth Century Fox’s War for the Planet of the Apes.

Developing CGI Requests for Key Scenes
By working closely with Weta Digital, the editor could develop new CGI requests for key scenes and then have them rendered as necessary. “We worked with the post-viz team to define exactly what we needed from a scene — maybe to put a horse into a blizzard, for example. Ryan Stafford, the film’s co-producer and visual effects producer, was our liaison with the CGI team. On some scenes I might have as many as a dozen or more separate layers in the Avid, including Caesar, rendered backgrounds, apes in the background, plus other actors in middle and front layers” that could be moved within the frame. “We had many degrees of freedom so that Matt and I could develop alternate ideas while still preserving the actors’ performances. That way of working could be problematic if you have a director who couldn’t make up his mind; happily, Matt is not that way!”

Hoy cites one complex scene that needed to be revised dramatically. “There is a segment in which Bad Ape [an intelligent chimpanzee who lived in the Sierra Zoo before the Simian Flu pandemic] is seen in front of a hearth. That scene was shot twice because Matt did not consider it frenetic enough. The team returned to the motion capture stage and re-shot the scene [with actor Steve Zahn]. That allowed us to start over again with new, more frantic physical performances against resized backgrounds. We drove the downstream activities – asking Weta to add more snow in another scene, for example, or maybe bring Bad Ape forward in the frame so that we can see him more clearly. Weta was amazing during that collaborative process, with great input.”

The editor also received a number of sound files for use within his Avid workstation. “In the beginning, I used some library effects and some guide music — mostly some cues of composer Michael Giacchino’s Dawn score music from music editor Paul Apelgren. Later, when the picture was in one piece, I received some early sketches from the sound design team. For the Director’s Cut we had a rough cut with no CGI from Weta Digital. But when we received more sound design, I would create temp mixes on the Avid, with a 5.1-channel mix for the sound-editorial team using maybe 24 tracks of effects, dialog and music elements. It was a huge session, but Media Composer is versatile. After turning over that mix to Will Files, the film’s sound designer, supervising sound editor and co-mixer, I was present with Matt on the re-recording stage for maybe six weeks of the final mix as the last VFX elements came in. We were down to the wire!”

Hoy readily concedes that while he loves to work with new directors — “and share their point of view” — returning to a director with whom he has collaborated previously is a rewarding experience. “You develop a friendly liaison because it becomes easier once you understand the ways in which a director works. But I do like to be challenged with new ideas and new experiences.” He may get to work again with Reeves on the director’s next outing, The Batman, “but since Matt is still writing the screenplay, time will tell!”


Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLAHe is also a long-time member of the UK’s National Union of Journalists.

 


Pixomondo streamlines compute management with Deadline

There’s never a dull moment at Pixomondo, where artists and production teams juggle feature film, TV, theme park and commercial VFX projects between offices in Toronto, Vancouver, Los Angeles, Frankfurt, Stuttgart, Shanghai and Beijing. The Academy- and Emmy-award-winning VFX studio securely manages its on-premises compute resources across its branches and keeps its rendering pipeline running 24/7 utilizing Thinkbox’s Deadline, which it standardized on in 2010.

In recent months, Pixomondo has increasingly been computing workstation tasks on its render farm via Deadline and has moved publishing to Deadline as well. Sebastian Kral, Pixomondo’s global head of pipeline, says, “By offloading more to Deadline, we’re able to accelerate production. Our artists don’t have to wait for publishes to finish before they move onto the next task, and that’s really something. Deadline’s security is top-notch, which is extremely important for us given the secretive nature of some of our projects.”

Kral is particularly fond of Deadline’s Python API, which allows his global team to develop custom scripts to minimize the minutia that artists must deal with, resulting in a productivity boon. “Deadline gives us incredible flexibility. The Python API is fast, reliable and more usable than a command line entry point, so we can script so many things on our own, which is convenient,” says Kral. “We can build submission scripts for texture conversions, and create proxy data when a render job is done, so our artists don’t have to think about whether or not they need a QT of a composite.”

Power Rangers. Images courtesy of Pixomondo.

The ability to set environment variables for renders, or render as a specific user, allows Pixomondo’s artists to send tasks to the farm with an added layer of security. With seven facilities worldwide, and the possibility of new locations based on production needs, Pixomondo has also found Deadline’s ability to enable multi-facility rendering valuable.

“Deadline is packed with a ton of great out-of-the-box features, in addition to the new features that Thinkbox implements in new iterations; we didn’t even need to build our own submission tool, because Deadline’s submission capabilities are so versatile,” Kral notes. “It also has a very user-friendly interface that makes setup quick and painless, which is great for getting new hires up to speed quickly and connecting machines across facilities.”

Pixomondo’s more than 400 digital artists are productive around the clock, taking advantage of alternating time zones at facilities around the world. Nearly every rendering decision at the studio is made with Deadline in mind, as it presents rendering metrics in an intuitive way that allows the team to more accurately estimate project turnaround. “When opening Deadline to monitor a render, it’s always an enjoyable experience because all the information I need is right there at my fingertips,” says Kral. “It provides a meaningful overview of our rendering resource spread. We just log in, test renders, and we have all the information needed to determine how long each task will take using the available machines.”


Benji Davidson joins Brickyard VFX

Brickyard VFX in Santa Monica has added VFX supervisor Benji Davidson to its staff. Davidson’s experience includes live-action directing, creative directing and VFX supervision. He joins Brickyard from MPC, where he served as VFX supervisor since 2008.

In his career, Davidson has worked as an on-set VFX supervisor, lead 2D artist and director, among other things. Born and raised in England, he got his start at acclaimed commercial production company HKM/The Directors Bureau before joining MPC LA.

His notable projects include Activision’s Call of Duty: Black Ops III Seize Glory, EA Sports’ Madden NFL 16 Madden: The Movie, Samsung’s Do What You Can’t and Super Bowl spots for Coca-Cola and Acura. He also contributed to the Los Angeles Olympics bid.

“I think in today’s climate, with rapid turnarounds, there is a benefit to being involved early on,” says Davidson. “I aim to help the director and agency, not hinder them. I’ve enjoyed being on set, sometimes that’s the only place everybody is together, which is invaluable when you get to post. You already know the expectations. There’s a secret short-hand from that shared experience.”

Brickyard is a digital production studio working in high-end visual effects, animation, design and creative development for advertising, feature films and emerging media.

FMPX8.14

Behind the Title: Union VFX supervisor James Roberts

NAME: James Roberts

COMPANY: London-based Union (@unionvfx)

CAN YOU DESCRIBE YOUR COMPANY?
Union is an independent VFX company founded on a culture of originality, innovation and collaboration.

WHAT’S YOUR JOB TITLE?
VFX Supervisor

WHAT DOES THAT ENTAIL?
Overseeing the VFX for feature films from concept to delivery. This includes concept development, on-set photography and supervision of artists.

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
I sometimes get to be an actor.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with creative artists both on set and in the studio to develop original artwork.

WHAT’S YOUR LEAST FAVORITE?
Answering emails.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
1am

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Professional dog walker

WHY DID YOU CHOOSE THIS PROFESSION?
My mother was an artist and my father was a computer programmer… I didn’t have many other options.

My Cousin Rachel

CAN YOU NAME SOME RECENT PROJECTS?
T2 Trainspotting and My Cousin Rachel.

WHAT PROJECT ARE YOU MOST PROUD OF?
’71 and The Theory of Everything.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Headphones, Side Effects Houdini and light bulbs.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram — I’m @jjjjjjames

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Yes…… anything and everything.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I spend time away from work with nice people.


MTV International’s Flanker Channels get graphic rebrand

LA-based animation and design studio Laundry has rebranded MTV International’s Flanker Channels, seven music-themed channels that broadcast in international markets and complement the MTV flagship channel. They worked closely with MTV World Creative Studio, the network’s international creative unit. The new brand identity is now on-air and online.

The MTV Flanker Channels offer viewers a wide variety of choices across seven different subsets of programming: Live, Hits, Classic, Rock, Music, Dance and Base. While the new branding package has a unified look, each channel’s theme is tailored for that type of music. Within the package there is a series of genre-inspired “party animal” characters that dance, shake and move to the DNA of each channel.

“We were faced with the challenge of finding a conceptual and visual thread that connected everything,” says Maximiliano Borrego, creative director at MTV World Creative Studio. “Something unique and identifiable across the channels that would, above all, entertain our audience. It was a big visual creative puzzle.”

“Adhering to MTV’s ‘Kill Boring’ mantra was a welcome license for us to make bold, creative choices that the network can own,” says PJ Richardson, partner/executive creative director of Laundry. “All seven Flanker identities reveal something distinct and unexpected, yet holistically fit within the larger brand ecosystem of the MTV family of channels.”

Laundry developed a graphics system for the rebrand based on “Wireframe + Skin,” MTV’s visual framework to branding. This conceptual and modular design approach dictated how they composed and arranged graphic content to interact. Assets included IDs, bumpers, key art, on-screen graphics, end boards, background animations, invaders (loopable animated elements), 3D logos (on-air and online), container boxes and crawls for each Flanker Channel.

They called on Maxon Cinema 4D and Adobe’s Creative Suite.

“We pictured MTV as a virtual reality planet where each sub-channel is a genre-specific continent — inhabited by party animals,” says Anthony Liu, partner/executive creative director of Laundry. “They’re the perfect visual metaphor for the diverse music genres and fans of the world; different in their influence and location, but the same in their fandom and human spirit.”

The party animals are 3D characters rendered to look graphic. Each one distantly references a real animal representing the music styles of the specific channel: an eel reflects the smoothness of electronic music like a glow stick, and a crab with a speaker-like shell is a nod to Jamaican dance-party vans. The creatures were designed to provide a lot of latitude across different moments in animation. For MTV Rocks, a 24-hour alternative music channel, Laundry built a frenetic mosh pit-inspired character made of drumsticks and guitar picks. While the animation is not specific to any one band or type of rock music, it captures the overall wild energy of the genre.

In total, Laundry created more than 300 elements for the MTV International Flanker Channels. The team also developed insanely vibrant layouts that reinforce MTV’s “Kill Boring” mission statement by combining the invader graphics with off-the-wall logo treatments and color palettes. Once the entire rebrand was brought to life, Laundry created a style guide with templates, so MTV teams across the world could use the assets consistently, but with enough flexibility as to not be repetitive.

“The MTV World Creative group really understood viewers’ shortening attention span, but increased appreciation of creativity, which was a vision we shared,” concludes Richardson. “Challenging in all the right ways, what made the collaboration so spectacular was the process of evolving the look and feel of the rebrand to nail both of those things and make a final package we’re all super stoked about.”

Foundry’s Nuke and Hiero 11.0 now available

Foundry has made available Nuke and Hiero 11.0, the next major release for the Nuke line of products, including Nuke, NukeX, Nuke Studio, Hiero and HieroPlayer. The Nuke family is being updated to VFX Platform 2017, which includes several major updates to key libraries used within Nuke, including Python, Pyside and Qt.

The update also introduces a new type of group node, which offers a powerful new collaborative workflow for sharing work among artists. Live Groups referenced in other scripts automatically update when a script is loaded, without the need to render intermediate stages.

Nuke Studio’s intelligent background rendering is now available in Nuke and NukeX. The Frame Server takes advantage of available resource on your local machine, enabling you to continue working while rendering is happening in the background. The LensDistortion node has been completely revamped, with added support for fisheye and wide-angle lenses and the ability to use multiple frames to produce better results. Nuke Studio now has new GPU-accelerated disk caching that allows users to cache part or all of a sequence to disk for smoother playback of more complex sequences.