Tag Archives: Autodesk Flame

Latest Autodesk Flame family updates and more

Autodesk was at NAB talking up new versions of its tools for media and entertainment, including the Autodesk Flame Family 2018 Update 1 for VFX, the Arnold 5.0 renderer, Maya 2017 Update 3 for 3D animation, performance updates for Shotgun production tracking and review software and 3DS Max 2018 software for 3D modeling.

The Autodesk Flame 2018 Update 1 includes new action and batch paint improvements such as 16-bit floating point (FP) depth support, scene detect and conform enhancements.

The Autodesk Maya 2017 Update 3 includes enhancements to character creation tools such as interactive grooming with XGen, an all-new UV workflow, and updates to the motion graphics toolset that includes a live link with Adobe After Effects and more.

Arnold 5.0 is offering several updates including better sampling, new standard surface, standard hair and standard volume shaders, Open Shading Language (OSL) support, light path expressions, refactored shading API and a VR camera.

— Shotgun updates accelerate multi-region performance and make media uploads and downloads faster regardless of location.

— Autodesk 3ds Max 2018 offers Arnold 5.0 rendering via a new MAXtoA 1.0 plug-in, customizable workspaces, smart asset creation tools, Bézier motion path animation, and a cloud-based large model viewer (LMV) that integrates with Autodesk Forge.

The Flame Family 2018 Update 1, Maya 2017 Update 3 and 3DS Max 2018 are all available now via Autodesk e-stores and Autodesk resellers. Arnold 5.0 and Shotgun are both available via their respective websites.

VFX house Jamm adds Flame artist Mark Holden

Santa Monica-based visual effects boutique Jamm has added veteran Flame artist Mark Holden to its roster. Holden comes to Jamm with over 20 years of experience in post production, including stints in London and Los Angeles.

It didn’t take long for Holden to dive right in at Jamm; he worked on Space 150’s Buffalo Wild Wings Super Bowl campaign directed by the Snorri Bros. and starring Brett Favre. The Super Bowl teaser kicked off the pre-game.

Holden is known not only for his visual effects talent, but also for turning projects around under tight deadlines and offering his clients as many possible solutions within the post process. This has earned him work with leading agencies such as Fallon, Mother, Saatchi & Saatchi, Leo Burnett, 180, TBWA/Chiat/Day, Goodby Silverstein & Partners, Deutsch, David & Goliath, and Team One. He has worked with brands including Lexus, Activision, Adidas, Chevy, Geico, Grammys, Kia, Lyft, Pepsi, Southwest Airlines, StubHub, McDonald’s, Kellogg’s, Stella Artois, Silk, Heineken and Olay.

 

Grading & Compositing Storage: Northern Lights

Speed is key for artist Chris Hengeveld.

By Beth Marchant

For Flame artist Chris Hengeveld of Northern Lights in New York City, high-performance file-level storage and a Fibre Channel connection mean it’s never been easier for him to download original source footage and share reference files with editorial on another floor. But Hengeveld still does 80 percent of his work the old-fashioned way: off hand-delivered drives that come in with raw footage from production.

Chris Hengeveld

The bicoastal editorial and finishing facility Northern Lights — parent company to motion graphics house Mr. Wonderful, the audio facility SuperExploder and production boutique Bodega — has an enviably symbiotic relationship with its various divisions. “We’re a small company but can go where we need to go,” says colorist/compositor Hengeveld. “We also help each other out. I do a lot of compositing, and Mr. Wonderful might be able to help me out or an assistant editor here might help me with After Effects work. There’s a lot of spillover between the companies, and I think that’s why we stay busy.”

Hengeveld, who has been with Northern Lights for nine years, uses Flame Premium, Autodesk’s visual effects finishing bundle of Flame and Flare with grading software Lustre. “It lets me do everything from final color work, VFX and compositing to plain-old finishing to get it out of the box and onto the air,” he says. With Northern Lights’ TV-centric work now including a growing cache of Web content, Hengeveld must often grade and finish in parallel. “No matter how you send it out, chances are what you’ve done is going to make it to the Web in some way. We make sure that what we make look good on TV also looks good on the Web. It’s often just two different outputs. What looks good on broadcast you often have to goose a bit to get it to look good on the Web. Also, the audio specs are slightly different.”

Hengeveld provided compositing and color on this spot for Speedo.

Editorial workflows typically begin on the floor above Hengeveld in Avid, “and an increasing number, as time goes by, in Adobe Premiere,” he says. Editors are connected to media through a TerraBlock shared storage system from Facilis. “Each room works off a partition from the TerraBlock, though typically with files transcoded from the original footage,” he says. “There’s very little that gets translated from them to me, in terms of clip-based material. But we do have an Aurora RAID from Rorke (now Scale Logic) off which we run a HyperFS SAN — a very high-performance, file-level storage area network — that connects to all the rooms and lets us share material very easily.”

The Avids in editorial at Northern Lights are connected by Gigabit Ethernet, but Hengeveld’s room is connected by Fibre. “I get very fast downloading of whatever I need. That system includes Mr. Wonderful, too, so we can share what we need to, when we need to. But I don’t really share much of the Avid work except for reference files.” For that, he goes back to raw camera footage. “I’d say bout 80 percent of the time, I’m pulling that raw shoot material off of G-Technology drives. It’s still sneaker-net on getting those source drives, and I don’t think that’s ever going to change,” he says. “I sometimes get 6TB of footage in for certain jobs and you’re not going to copy that all to a centrally located storage, especially when you’ll end up using about a hundredth of that material.”

The source drives are typically dupes from the production company, which more often than not is sister company Bodega. “These drives are not made for permanent storage,” he says. “These are transitional drives. But if you’re storing stuff that you want to access in five to six years, it’s really got to go to LTO or some other system.” It’s another reason he’s so committed to Flame and Lustre, he says. Both archive every project locally with its complete media, which can be then be easily dropped onto an LTO for safe long-term storage.

Time or money constraints can shift this basic workflow for Hengeveld, who sometimes receives a piece of a project from an editor that has been stripped of its color correction. “In that case, instead of loading in the raw material, I would load in the 15- or 30-second clip that they’ve created and work off of that. The downside with that is if the clip was shot with an adjustable format camera like a Red or Arri RAW, I lose that control. But at least, if they shoot it in Log-C, I still have the ability to have material that has a lot of latitude to work with. It’s not desirable, but for better stuff I almost always go back to the original source material and do a conform. But you sometimes are forced to make concessions, depending on how much time or budget the client has.”

A recent spot for IZod, with color by Hengeveld.

Those same constraints, paired with advances in technology, also mean far fewer in-person client meetings. “So much of this stuff is being evaluated on their computer after I’ve done a grade or composite on it,” he says. “I guess they feel more trust with the companies they’re working with. And let’s be honest: when you get into these very detailed composites, it can be like watching paint dry. Yet, many times when I’m grading,  I love having a client here because I think the sum of two is always greater than one. I enjoy the interaction. I learn something and I get to know my client better, too. I find out more about their subjectivity and what they like. There’s a lot to be said for it.”

Hengeveld also knows that his clients can often be more efficient at their own offices, especially when handling multiple projects at once, influencing their preferences for virtual meetings. “That’s the reality. There’s good and bad about that trade off. But sometimes, nothing beats an in-person session.”

Our main image is from NBC’s Rokerthon.

Netflix’s ‘Unbreakable Kimmy Schmidt’ gets crisper look via UHD

NYC’s Technicolor Postworks created a dedicated post workflow for the upgrade.

Having compiled seven Emmy Award nominations in its debut season, Netflix’s Unbreakable Kimmy Schmidt returned in mid-April with 13 new episodes in a form that is, quite literally, bigger and better.

The sitcom, from co-creators Tina Fey and Robert Carlock, features the ever-cheerful and ever-hopeful Kimmy Schmidt, whose spirit refuses to be broken, even after being held captive during her formative years. This season the series has boosted its delivery format from standard HD to the crisper, clearer, more detailed look of Ultra High Definition (UHD).

L-R: Pat Kelleher and Roger Doran

As with the show’s first season, post finishing was done at Technicolor PostWorks New York. Online editor Pat Kelleher and colorist Roger Doran once again served as the finishing team, working under the direction of series producer Dara Schnapper, post supervisor Valerie Landesberg and director of photography John Inwood. Almost everything else, however, was different.

The first season had been shot by Inwood with Arri Alexa, capturing in 1080p, and finished in ProRes 4444. The new episodes were shot with Red Dragon, capturing in 5K, and needed to be finished in UHD. That meant that the hardware and workflow used by Kelleher and Doran had to be retooled to efficiently manage UHD files four times larger than ProRes.

“It was an eye opener,” recalls Kelleher of the change. “Obviously, the amount of drive space needed for storage is huge. Everyone from our data manager through to the people who did the digital deliveries had to contend with the higher volume of data. The actual hands-on work is not that different from an HD show, but you need the horses to do it.”

Before post work began, engineers from Technicolor PostWorks’ in-house research unit, The Test Lab, analyzed the workflow requirements of UHD and began making changes. They built an entirely new hardware Unbreakable Kimmy Schmidtsystem for Kelleher to use, running Autodesk’s Flame Premium. It consisted of an HP Z820 workstation with Nvidia Quadro K6000 graphics, 64GB of RAM and dual Intel Xeon Processor E5-2687Ws (20M Cache, 3.10 GHz, 8.00 GT/s Intel QPI). Kelleher described its performance in handling UHD media as “flawless.”

Doran’s color grading suite got a similar overhaul. For him, engineers built a Linux-based workstation to run Blackmagic’s DaVinci Resolve, V11, and set up a dual monitoring system. That included a Panasonic 300 series display to view media in 1080p and a Samsung 9500 series curved LED to view UHD. Doran could then review color decisions in both formats (while maintaining a UHD signal throughout) and spot details or noise issues in UHD that might not be apparent at lower resolution.

While the extra firepower enabled Kelleher and Doran to work with UHD as efficiently as HD, they faced new challenges. “We do a lot of visual effects for this show,” notes Kelleher. “And now that we’re working in UHD, everything has to be much more precise. My mattes have to be tight because you can see so much more.”

Doran’s work in the color suite similarly required greater finesse. “You have to be very, very aware,” he says. “Cosmetically, it’s different. The lighting is different. You have to pay close attention to how the stars look.”

Doran is quick to add that, while grading UHD might require closer scrutiny, it’s justified by the results. “I like the increased range and greater detail,” he says. “I enjoy the extra control. Once you move up, you never want to go back.”

Both Doran and Kelleher credited the Technicolor PostWorks engineering team of Eric Horwitz, Corey Stewart and Randy Main for their ability to “move up” with a minimum of strain. “The engineers were amazing,” Kelleher insists. “They got the workflow to where all I had to think about was editing and compositing. The transition was so smooth, you almost forgot you were working in UHD, except for the image quality. That was amazing.”