Tag Archives: visual effects

Review: HP’s lower-cost DreamColor Z24x display

By Dariush Derakhshani

So, we all know how important a color-accurate monitor is in making professional-level graphics, right? Right?!? Even at the most basic level, when you’re stalking online for the perfect watch band for your holiday present of a smart watch, you want the orange band you see in the online ad to be what you get when it arrives a few days later. Even if your wife thinks orange doesn’t suit you, and makes you look like “you’re trying too hard.”

Especially as a content developer, you want to know what you’re looking at is an accurate representation of the image. Ever walk into a Best Buy and see multiple screens showing the same content but with wild ranging differences in color? You can’t have that discrepancy working as a pro, especially in collaboration; you need color accuracy. In my own experience, that position has been filled by HP’s 10-bit DreamColor displays for many years now, but not everyone is awash in bitcoins, and justifying a price tag of over $1,200 is sometimes hard to justify, even for a studio professional.

Enter HP’s DreamColor Z24x display at half the price, coming in around $550 online. Yes, DreamColor for half the cost. That’s pretty significant. For the record, I haven’t used a 24-inch monitor since the dark ages; when Lost was the hot TV show. I’ve been fortunate enough to be running at 27-inch and higher, so there was a little shock when I started using the Z24x HP sent me for review. But this is something I quickly got used to.

With my regular 32-inch 4K display still my primary — so I can fit loads of windows all over the place — I used this DreamColor screen as my secondary display, primarily to check output for my Adobe After Effects comps, Adobe Premiere Pro edits and to hold my render view window as I develop shaders and lighting in Autodesk Maya. I felt comfortable knowing the images I shared with my colleagues across town would be seen as I intended them, evening the playing field when working collaboratively (as long as everyone is on the same LUT and color space). Speaking of color spaces, the Z24x hits 100% of sRGB, 99% of AdobeRGB and 96% of DCI P3, which is just slightly under HP’s Z27x DreamColor. It is, however, slightly faster with a 6ms response rate.

The Z24x has a 24-inch IPS panel from LG that exhibits color in 10-bit, like its bigger 27-inch Z27x sibling. This gives you over a billion colors, which I have personally verified by counting them all —that was one, long weekend, I can tell you. Unlike the highest-end DreamColor screens though, the Z24x dithers up from 8-bit to 10-bit (called an 8-bit+FRC). This means it’s better than an 8-bit color display, for sure, but not quite up to real 10-bit, making it color accurate but not color critical. HP’s implementation of dithering is quite good, when subjectively compared to my full 10-bit main display. Frankly, a lot of screens that claim 10-bit may actually be 8-bit+FRC anyway!

While the Z27x gives you 2560×1440 as you expect of most 27inch displays, if not full on 4K, the Z24x is at a comfortable 1920×1200, just enough for a full 1080p image and a little room for a slider or info bar. Being the res snob that I am, I had wondered if that was just too low, but at 24-inches I don’t think you would want a higher resolution, even if you’re sitting only 14-inches away from it. And this is a sentiment echoed by the folks at HP who consulted with so many of their professional clients to build this display. That gives a pixel density of about 94PPI, a bit lower than the 109PPI of the Z27x. This density is about the same as a 1080p HD display at 27-inch, so it’s still crisp and clean.

Viewing angles are good at about 178 degrees, and the screen is matte, with an anti-glare coating, making it easier to stare at without blinking for 10 hours at a clip, as digital artists usually do. Compared to my primary display, this HP’s coating was more matte and still gave me a richer black in comparison, which I liked to see.

Connection options are fairly standard with two DisplayPorts, one HDMI, and one DVI dual link for anyone still living in the past. You also get four USB ports and an analog 3.5mm audio jack if you want to drive some speakers, since you can’t from your phone anymore (Apple, I’m looking at you).

Summing Up
So while 24-inches is a bit small for my tastes for a display, I am seriously impressed at the street price of the Z24x, allowing a lot more pros and semi-pros to get the DreamColor accuracy HP offers at half the price. While I wouldn’t recommend color grading a show on the Z24x, this DreamColor does a nice job of bringing a higher level of color confidence at an attractive price. As a secondary display, the z24x is a nice addition to an artist workflow with budget in mind — or who has a mean, orange-watch-band-hating spouse.

Dariush Derakhshani is a VFX supervisor and educator in Southern California. You can follow his random tweets at @koosh3d.

Young pros with autism contribute to Oscar-nominated VFX films

Exceptional Minds Studio, the LA-based visual effects and animation studio made up of young people on the autism spectrum, earned screen credit on three of the five films nominated for Oscars in the visual effects category — Star Wars: The Last Jedi, Guardians of the Galaxy Vol. 2 and War for the Planet of the Apes.

L-R: Lloyd Hackl, Kenneth Au, Mason Taylor and Patrick Brady.

For Star Wars: The Last Jedi, the artists at Exceptional Minds Studio were contracted to do visual effects cleanup work that involved roto and paint for several shots. “We were awarded 20 shots for this film that included very involved rotoscoping and paint work,” explains Exceptional Minds Studio executive producer Susan Zwerman.

The studio was also hired to create the end titles for Star Wars: The Last Jedi, which involved compositing the text into a star-field background.

For Guardians of the Galaxy Vol. 2, Exceptional Minds provided the typesetting for the end credit crawl. For War for the Planet of the Apes, the studio provided visual effects cleanup on 10 shots — this involved tracker marker removal using roto and paint.

Exceptional Minds used Foundry’s Nuke for much of their work, in addition to Silhouette and Mocha for After Effects.

Star Wars: The Last Jedi. Courtesy of ILM

Since opening its doors almost four years ago, this small studio has worked on visual effects for more than 50 major motion pictures and/or television series, including The Good Doctor, Game of Thrones and Doctor Strange.

“The VFX teams we worked with on each of these movies were beyond professional, and we are so thankful that they gave our artists the opportunity to work with them,” says Zwerman, adding that “many of our artists never even dreamed they would be working in this industry.”

An estimated 90 percent of the autism population is under employed or unemployed, and few training programs exist to prepare young adults with autism for meaningful careers, which is what makes this program so important.

“I couldn’t imagine doing this when I was young,” agreed Patrick Brady, an Exceptional Minds VFX artist.

VFX supervisor Lesley Robson-Foster on Amazon’s Mrs. Maisel

By Randi Altman

If you are one of the many who tend to binge-watch streaming shows, you’ve likely already enjoyed Amazon’s The Marvelous Mrs. Maisel. This new comedy focuses on a young wife and mother living in New York City in 1958, when men worked and women tended to, well, not work.

After her husband leaves her, Mrs. Maisel chooses stand-up comedy over therapy — or you could say stand-up comedy chooses her. The show takes place in a few New York neighborhoods, including the toney Upper West Side, the Garment District and the Village. The storyline brings real-life characters into this fictional world — Midge Maisel studies by listening to Red Foxx comedy albums, and she also befriends comic Lenny Bruce, who appears in a number of episodes.

Lesley Robson-Foster on set.

The show, created by Amy Sherman-Palladino and Dan Palladino, is colorful and bright and features a significant amount of visual effects — approximately 80 per episode.

We reached out to the show’s VFX supervisor, Lesley Robson-Foster, to find out more.

How early did you get involved in Mrs. Maisel?
The producer Dhana Gilbert brought my producer Parker Chehak and I in early to discuss feasibility issues, as this is a period piece and to see if Amy and Dan liked us! We’ve been on since the pilot.

What did the creators/showrunners say they needed?
They needed 1958 New York City, weather changes and some very fancy single-shot blending. Also, some fantasy and magic realism.

As you mentioned, this is a period piece, so I’m assuming a lot of your work is based on that.
The big period shots in Season 1 are the Garment District reconstruction. We shot on 19th Street between 5th and 6th — the brilliant production designer Bill Groom did 1/3 of the street practically and VFX took care of the rest, such as crowd duplication and CG cars and crowds. Then we shot on Park Avenue and had to remove the Met Life building down near Grand Central, and knock out anything post-1958.

We also did a major gag with the driving footage. We shot driving plates around the Upper West Side and had a flotilla of period-correct cars with us, but could not get rid of all the parked cars. My genius design partner on the show Douglas Purver created a wall of parked period CG cars and put them over the modern ones. Phosphene then did the compositing.

What other types of effects did you provide?
Amy and Dan — the creators and showrunners — haven’t done many VFX shows, but they are very, very experienced. They write and ask for amazing things that allow me to have great fun. For example, I was asked to make a shot where our heroine is standing inside a subway car, and then the camera comes hurtling backwards through the end of the carriage and then sees the train going away down the tunnel. All we had was a third of a carriage with two and a half walls on set. Douglas Purver made a matte painting of the tunnel, created a CG train and put it all together.

Can you talk about the importance of being on set?
For me being on set is everything. I talk directors out of VFX shots and fixes all day long. If you can get it practically you should get it practically. It’s the best advice you’ll ever give as a VFX supervisor. A trust is built that you will give your best advice, and if you really need to shoot plates and interrupt the flow of the day, then they know it’s important for the finished shot.

Having a good relationship with every department is crucial.

Can you give an example of how being on set might have saved a shot or made a shot stronger?
This is a character-driven show. The directors really like Steadicam and long, long shots following the action. Even though a lot of the effects we want to do really demand motion control, I know I just can’t have it. It would kill the performances and take up too much time and room.

I run around with string and tennis balls to line things up. I watch the monitors carefully and use QTake to make sure things line up within acceptable parameters.

In my experience you have to have the production’s best interests at heart. Dhana Gilbert knows that a VFX supervisor on the crew and as part of the team smooths out the season. They really don’t want a supervisor who is intermittent and doesn’t have the whole picture. I’ve done several shows with Dhana; she knows my idea of how to service a show with an in-house team.

You shot b-roll for this? What camera did you use, and why?
We used a Blackmagic Ursa Mini Pro. We rented one on The OA for Netflix last year and found it to be really easy to use. We liked that’s its self-contained and we can use the Canon glass from our DSLR kits. It’s got a built-in monitor and it can shoot RAW 4.6K. It cut in just fine with the Alexa Mini for establishing shots and plates. It fits into a single backpack so we could get a shot at a moment’s notice. The user interface on the camera is so intuitive that anyone on the VFX team could pick it up and learn how to get the shot in 30 minutes.

What VFX houses did you employ, and how do you like to work with them?
We keep as much as we can in New York City, of course. Phosphene is our main vendor, and we like Shade and Alkemy X. I like RVX in Iceland, El Ranchito in Spain and Rodeo in Montreal. I also have a host of secret weapon individuals dotted around the world. For Parker and I, it’s always horses for courses. Whom we send the work to depends on the shot.

For each show we build a small in-house team — we do the temps and figure out the design, and shoot plates and elements before shots leave us to go to the vendor.

You’ve worked on many critically acclaimed television series. Television is famous for quick turnarounds. How do you and your team prepare for those tight deadlines?
Television schedules can be relentless. Prep, shoot and post all at the same time. I like it very much as it keeps the wheels of the machine oiled. We work on features in between the series and enjoy that slower process too. It’s all the same skill set and workflow — just different paces.

If you have to offer a production a tip or two about how to make the process go more smoothly, what would it be?
I would say be involved with EVERYTHING. Keep your nose close to the ground. Really familiarize yourself with the scripts — head trouble off at the pass by discussing upcoming events with the relevant person. Be fluid and flexible and engaged!

Jogger moves CD Andy Brown from London to LA

Creative director Andy Brown has moved from Jogger’s London office to its Los Angeles studio. Brown led the development of boutique VFX house Jogger London, including credits for the ADOT PSA Homeless Lights via Ogilvy & Mather, as well as projects for Adidas, Cadbury, Valentino, Glenmorangie, Northwestern Mutual, La-Z-Boy and more. He’s also been involved in post and VFX for short films such as Foot in Mouth, Containment and Daisy as well as movie title sequences (via The Morrison Studio), including Jupiter Ascending, Collide, The Ones Below and Ronaldo.

Brown got his start in the industry at MPC, where he worked for six years, eventually assuming the role of digital online editor. He then went on to work in senior VFX roles at some of London’s post houses, before assuming head of VFX at One Post. Following One Post’s merger with Rushes, Brown founded his own company Four Walls, establishing the company’s reputation for creative visual effects and finishing.

Brown oversaw Four Walls’ merger with LA’s Jogger Studios in 2016. Andy has since helped form interconnections with Jogger’s teams in London, New York, Los Angeles, San Francisco and Austin, with high-end VFX, motion graphics and color grading carried out on projects globally.

VFX house Jogger is a sister company of editing house Cut + Run.

Creating CG wildlife for Jumanji: Welcome to the Jungle

If you are familiar with the original Jumanji film from 1995 — about a board game that brings its game jungle, complete with animals and the boy it trapped decades earlier, into the present day — you know how important creatures are to the story. In this new version of the film, the game traps four teens inside its video game jungle, where they struggle to survive among the many creatures, while trying to beat the game.

For Columbia Pictures’ current sequel, Jumanji: Welcome to the Jungle, Montreal-based visual effects house Rodeo FX was called on to create 96 shots, including some of the film’s wildlife. The film stars Dwayne Johnson, Jack Black and Kevin Hart.

“Director Jake Kasdan wanted the creatures to feel cursed, so our team held back from making them too realistic,” explains Rodeo FX VFX supervisor Alexandre Lafortune. “The hippo is a great example of a creature that would have appeared scary if we had made it look real, so we made it bigger and faster and changed the pink flesh in its mouth to black. These changes make the hippo fit in with the comedy.”

The studio’s shots for the film feature a range of creatures, as well as matte paintings and environments. Rodeo FX worked alongside the film’s VFX supervisor, Jerome Chen, to deliver the director’s vision for the star-studded film.

“It was a pleasure to collaborate with Rodeo FX on this film,” says Chen. “I relied on Alexandre Lafortune and his team to help us with sequences requiring full conceptualization and execution from start to finish.”

Chen entrusted Rodeo FX with the hippo and other key creatures, including the black mamba snake that engages Bethany, played by Jack Black, in a staring contest. The snake was created by Rodeo FX based on a puppet used on set by the actors. Rodeo FX used a 3D scan of the prop and brought it to life in CG, making key adjustments to its appearance, including coloring and mouth shape. The VFX studio also delivered shots of a scorpion, crocodile, a tarantula and a centipede that complement the tone of the film’s villain.

In terms of tools, “We used Maya and Houdini — mainly for water effects — as 3D tools, Zbrush for modeling and Nuke for compositing,” reports Lafortune. “Arnold renderer was used for 3D renders, such as lighting and shading shaders.”

Additional Rodeo FX’s creature work can be seen in IT, The Legend of Tarzan and Paddington 2.

VES names award nominees

The Visual Effects Society (VES) has announced the nominees for its 16th Annual VES Awards, which recognize visual effects artistry and innovation in film, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.

Blade Runner 2049 and War for the Planet of the Apes have tied for the most feature film nominations with seven each. Despicable Me 3 is the top animated film contender with five nominations, and Game of Thrones leads the broadcast field and scores the most nominations overall with 11.

Nominees in 24 categories were selected by VES members via events hosted by 10 of its sections, including Australia, the Bay Area, London, Los Angeles, Montreal, New York, New Zealand, Toronto, Vancouver and Washington. The VES Awards will be held on February 13 at the Beverly Hilton Hotel. The VES Georges Méliès Award will be presented to Academy Award-winning visual effects supervisor Joe Letteri, VES. The VES Lifetime Achievement Award will be presented to producer/writer/director Jon Favreau. Comedian Patton Oswalt will once again host.

Here are the nominees:

Outstanding Visual Effects in a Photoreal Feature


Blade Runner 2049

John Nelson

Karen Murphy Mundell

Paul Lambert

Richard Hoover

Gerd Nefzer


Guardians of the Galaxy Vol. 2

Christopher Townsend

Damien Carr

Guy Williams

Jonathan Fawkner

Dan Sudick

Kong: Skull Island

Jeff White

Tom Peitzman

Stephen Rosenbaum

Scott Benza

Michael Meinardus


Star Wars: The Last Jedi

Ben Morris

Tim Keene

Eddie Pasquarello

Daniel Seddon

Chris Corbould


War for the Planet of the Apes

Joe Letteri

Ryan Stafford

Daniel Barrett

Dan Lemmon

Joel Whist


Outstanding Supporting Visual Effects in a Photoreal Feature


Darkest Hour

Stephane Naze

Warwick Hewitt

Guillaume Terrien

Benjamin Magana


James E. Price

Susan MacLeod

Lindy De Quattro

Stéphane Nazé



Andrew Jackson

Mike Chambers

Andrew Lockley

Alison Wortman

Scott Fisher



Dan Schrecker

Colleen Bachman

Ben Snow

Wayne Billheimer

Peter Chesney


Only the Brave

Eric Barba

Dione Wood

Matthew Lane

Georg Kaltenbrunner

Michael Meinardus


Outstanding Visual Effects in an Animated Feature


Captain Underpants

David Soren

Mark Swift

Mirielle Soria

David Dulac


Cars 3

Brian Fee

Kevin Reher

Michael Fong

Jon Reisch


Lee Unkrich

Darla K. Anderson

David Ryu

Michael K. O’Brien


Despicable Me 3

Pierre Coffin

Chris Meledandri

Kyle Balda

Eric Guillon


The Lego Batman Movie

Rob Coleman

Amber Naismith

Grant Freckelton

Damien Gray

The Lego Ninjago Movie

Gregory Jowle

Fiona Chilton

Miles Green

Kim Taylor


Outstanding Visual Effects in a Photoreal Episode


Agents of S.H.I.E.L.D.: Orientation Part 1

Mark Kolpack

Sabrina Arnold

David Rey

Kevin Yuille

Gary D’Amico


Game of Thrones: Beyond the Wall

Joe Bauer

Steve Kullback

Chris Baird

David Ramos

Sam Conway


Legion: Chapter 1

John Ross

Eddie Bonin

Sebastien Bergeron

Lionel Lim

Paul Benjamin


Star Trek: Discovery: The Vulcan Hello

Jason Michael Zimmerman

Aleksandra Kochoska

Ante Dekovic

Mahmoud Rahnama


Stranger Things 2: The Gate

Paul Graff

Christina Graff

Seth Hill

Joel Sevilla

Caius the Man


Outstanding Supporting Visual Effects in a Photoreal Episode


Black Sails: XXIX

Erik Henry

Terron Pratt

Yafei Wu

David Wahlberg

Paul Dimmer


Fear the Walking Dead: Sleigh Ride

Peter Crosman

Denise Gayle

Philip Nussbaumer

Martin Pelletier

Frank Ludica


Mr. Robot: eps3.4_runtime-err0r.r00

Ariel Altman

Lauren Montuori

John Miller

Luciano DiGeronimo


Outlander: Eye of the Storm

Richard Briscoe

Elicia Bessette

Aladino Debert

Filip Orrby

Doug Hardy


Taboo: Pilot

Henry Badgett

Tracy McCreary

Nic Birmingham

Simon Rowe

Colin Gorry


Vikings: On the Eve

Dominic Remane

Mike Borrett

Ovidiu Cinazan

Paul Wishart

Paul Byrne


Outstanding Visual Effects in a Real-Time Project


Assassin’s Creed Origins

Raphael Lacoste

Patrick Limoges

Jean-Sebastien Guay

Ulrich Haar


Call of Duty: WWII

Joe Salud

Atsushi Seo

Danny Chan

Jeremy Kendall


Fortnite: A Hard Day’s Night

Michael Clausen

Gavin Moran

Brian Brecht

Andrew Harris



Scot Stafford

Camille Cellucci

Kevin Dart

Theresa Latzko


Uncharted: The Lost Legacy

Shaun Escayg

Tate Mosesian

Eben Cook


Outstanding Visual Effects in a Commercial


Beyond Good and Evil 2

Leon Berelle

Maxime Luère

Dominique Boidin

Remi Kozyra


Kia Niro: Hero’s Journey

Robert Sethi

Anastasia von Rahl

Tom Graham

Chris Knight

Dave Peterson


Mercedes Benz: King of the Jungle

Simon French

Josh King

Alexia Paterson

Leonardo Costa


Monster: Opportunity Roars

Ruben Vandebroek

Clairellen Wallin

Kevin Ives

Kyle Cody


Samsung: Do What You Can’t, Ostrich

Diarmid Harrison-Murray

Tomek Zietkiewicz

Amir Bazazi

Martino Madeddu


Outstanding Visual Effects in a Special Venue Project


Avatar: Flight of Passage

Richard Baneham

Amy Jupiter

David Lester

Thrain Shadbolt


Corona: Paraiso Secreto

Adam Grint

Jarrad Vladich

Roberto Costas Fernández

Ed Thomas

Felipe Linares


Guardians of the Galaxy: Mission: Breakout!

Jason Bayever

Amy Jupiter

Mike Bain

Alexander Thomas


National Geographic Encounter: Ocean Odyssey

Thilo Ewers

John Owens

Gioele Cresce

Mariusz Wesierski


Nemo and Friends SeaRider

Anthony Apodaca

Kathy Janus

Brandon Benepe

Nick Lucas

Rick Rothschild


Star Wars: Secrets of the Empire

Ben Snow

Judah Graham

Ian Bowie

Curtis Hickman

David Layne


Outstanding Animated Character in a Photoreal Feature


Blade Runner 2049: Rachael

Axel Akkeson

Stefano Carta

Wesley Chandler

Ian Cooke-Grimes

Kong: Skull Island: Kong

Jakub Pistecky

Chris Havreberg

Karin Cooper

Kris Costa


War for the Planet of the Apes: Bad Ape

Eteuati Tema

Aidan Martin

Florian Fernandez

Mathias Larserud

War for the Planet of the Apes: Caesar

Dennis Yoo

Ludovic Chailloleau

Douglas McHale

Tim Forbes


Outstanding Animated Character in an Animated Feature


Coco: Hèctor

Emron Grover

Jonathan Hoffman

Michael Honsel

Guilherme Sauerbronn Jacinto


Despicable Me 3: Bratt

Eric Guillon

Bruno Dequier

Julien Soret

Benjamin Fournet


The Lego Ninjago Movie: Garma Mecha Man

Arthur Terzis

Wei He

Jean-Marc Ariu

Gibson Radsavanh


The Boss Baby: Boss Baby

Alec Baldwin

Carlos Puertolas

Rani Naamani

Joe Moshier


The Lego Ninjago Movie: Garmadon

Matthew Everitt

Christian So

Loic Miermont

Fiona Darwin


Outstanding Animated Character in an Episode or Real-Time Project


Black Mirror: Metalhead

Steven Godfrey

Stafford Lawrence

Andrew Robertson

Lestyn Roberts


Game of Thrones: Beyond the Wall – Zombie Polar Bear

Paul Story

Todd Labonte

Matthew Muntean

Nicholas Wilson


Game of Thrones: Eastwatch – Drogon Meets Jon

Jonathan Symmonds

Thomas Kutschera

Philipp Winterstein

Andreas Krieg


Game of Thrones: The Spoils of War – Drogon Loot Train Attack

Murray Stevenson

Jason Snyman

Jenn Taylor

Florian Friedmann


Outstanding Animated Character in a Commercial


Beyond Good and Evil 2: Zhou Yuzhu

Dominique Boidin

Maxime Luère

Leon Berelle

Remi Kozyra


Mercedes Benz: King of the Jungle

Steve Townrow

Joseph Kane

Greg Martin

Gabriela Ruch Salmeron


Netto: The Easter Surprise – Bunny

Alberto Lara

Jorge Montiel

Anotine Mariez

Jon Wood


Samsung: Do What You Can’t – Ostrich

David Bryan

Maximilian Mallmann

Tim Van Hussen

Brendan Fagan


Outstanding Created Environment in a Photoreal Feature


Blade Runner 2049: Los Angeles

Chris McLaughlin

Rhys Salcombe

Seungjin Woo

Francesco Dell’Anna


Blade Runner 2049: Trash Mesa

Didier Muanza

Thomas Gillet

Guillaume Mainville

Sylvain Lorgeau

Blade Runner 2049: Vegas

Eric Noel

Arnaud Saibron

Adam Goldstein

Pascal Clement


War for the Planet of the Apes: Hidden Fortress

Greg Notzelman

James Shaw

Jay Renner

Gak Gyu Choi


War for the Planet of the Apes: Prison Camp

Phillip Leonhardt

Paul Harris

Jeremy Fort

Thomas Lo


Outstanding Created Environment in an Animated Feature


Cars 3: Abandoned Racetrack

Marlena Fecho

Thidaratana Annee Jonjai

Jose L. Ramos Serrano

Frank Tai


Coco: City of the Dead

Michael Frederickson

Jamie Hecker

Jonathan Pytko

Dave Strick


Despicable Me 3: Hollywood Destruction

Axelle De Cooman

Pierre Lopes

Milo Riccarand

Nicolas Brack


The Lego Ninjago Movie: Ninjago City

Kim Taylor

Angela Ensele

Felicity Coonan

Jean Pascal leBlanc


Outstanding Created Environment in an Episode, Commercial or Real-Time Project


Assassin’s Creed Origins: City of Memphis

Patrick Limoges

Jean-Sebastien Guay

Mikael Guaveia

Vincent Lombardo


Game of Thrones: Beyond the Wall – Frozen Lake

Daniel Villalba

Antonio Lado

José Luis Barreiro

Isaac de la Pompa


Game of Thrones: Eastwatch

Patrice Poissant

Deak Ferrand

Dominic Daigle

Gabriel Morin


Still Star-Crossed: City

Rafael Solórzano

Isaac de la Pompa

José Luis Barreiro

Óscar Perea


Stranger Things 2: The Gate

Saul Galbiati

Michael Maher

Seth Cobb

Kate McFadden


Outstanding Virtual Cinematography in a Photoreal Project


Beauty and the Beast: Be Our Guest

Shannon Justison

Casey Schatz

Neil Weatherley

Claire Michaud


Guardians of the Galaxy Vol. 2: Groot Dance/Opening Fight

James Baker

Steven Lo

Alvise Avati

Robert Stipp


Star Wars: The Last Jedi – Crait Surface Battle

Cameron Nielsen

Albert Cheng

John Levin

Johanes Kurnia


Thor: Ragnarok – Valkyrie’s Flashback

Hubert Maston

Arthur Moody

Adam Paschke

Casey Schatz


Outstanding Model in a Photoreal or Animated Project


Blade Runner 2049: LAPD Headquarters

Alex Funke

Steven Saunders

Joaquin Loyzaga

Chris Menges


Despicable Me 3: Dru’s Car

Eric Guillon

François-Xavier Lepeintre

Guillaume Boudeville

Pierre Lopes


Life: The ISS

Tom Edwards

Chaitanya Kshirsagar

Satish Kuttan

Paresh Dodia


US Marines: Anthem – Monument

Tom Bardwell

Paul Liaw

Adam Dewhirst


Outstanding Effects Simulations in a Photoreal Feature


Kong: Skull Island

Florent Andorra

Alexis Hall

Raul Essig

Branko Grujcic


Only the Brave: Fire & Smoke

Georg Kaltenbrunner

Thomas Bevan

Philipp Zaufel

Himanshu Joshi


Star Wars: The Last Jedi – Bombing Run

Peter Kyme

Miguel Perez Senent

Ahmed Gharraph

Billy Copley

Star Wars: The Last Jedi – Mega Destroyer Destruction

Mihai Cioroba

Ryoji Fujita

Jiyong Shin

Dan Finnegan


War for the Planet of the Apes

David Caeiro Cebrián

Johnathan Nixon

Chet Leavai

Gary Boyle


Outstanding Effects Simulations in an Animated Feature


Cars 3

Greg Gladstone

Stephen Marshall

Leon JeongWook Park

Tim Speltz



Kristopher Campbell

Stephen Gustafson

Dave Hale

Keith Klohn


Despicable Me 3

Bruno Chauffard

Frank Baradat

Milo Riccarand

Nicolas Brack


Yaron Canetti

Allan Kadkoy

Danny Speck

Mark Adams


The Boss Baby

Mitul Patel

Gaurav Mathur

Venkatesh Kongathi


Outstanding Effects Simulations in an Episode, Commercial or Real-Time Project


Game of Thrones: Beyond the Wall – Frozen Lake

Manuel Ramírez

Óscar Márquez

Pablo Hernández

David Gacituaga


Game of Thrones: The Dragon and the Wolf – Wall Destruction

Thomas Hullin

Dominik Kirouac

Sylvain Nouveau

Nathan Arbuckle


Heineken: The Trailblazers

Christian Bohm

Andreu Lucio Archs

Carsten Keller

Steve Oakley


Outlander: Eye of the Storm – Stormy Seas

Jason Mortimer

Navin Pinto

Greg Teegarden

Steve Ong


Outstanding Compositing in a Photoreal Feature


Blade Runner 2049: LAPD Approach and Joy Holograms

Tristan Myles

Miles Lauridsen

Joel Delle-Vergin

Farhad Mohasseb


Kong: Skull Island

Nelson Sepulveda

Aaron Brown

Paolo Acri

Shawn Mason


Thor: Ragnarok: Bridge Battle

Gavin McKenzie

David Simpson

Owen Carroll

Mark Gostlow


War for the Planet of the Apes

Christoph Salzmann

Robin Hollander

Ben Morgan

Ben Warner


Outstanding Compositing in a Photoreal Episode


Game of Thrones: Beyond the Wall – Frozen Lake

Óscar Perea

Santiago Martos

David Esteve

Michael Crane


Game of Thrones: Eastwatch

Thomas Montminy Brodeur

Xavier Fourmond

Reuben Barkataki

Sébastien Raets


Game of Thrones: The Spoils of War – Loot Train Attack

Dom Hellier

Thijs Noij

Edwin Holdsworth

Giacomo Matteucci


Star Trek: Discovery

Phil Prates

Rex Alerta

John Dinh

Karen Cheng


Outstanding Compositing in a Photoreal Commercial


Destiny 2: New Legends Will Rise

Alex Unruh

Michael Ralla

Helgi Laxdal

Timothy Gutierrez


Nespresso: Comin’ Home

Matt Pascuzzi

Steve Drew

Martin Lazaro

Karch Koon


Samsung: Do What You Can’t – Ostrich

Michael Gregory

Andrew Roberts

Gustavo Bellon

Rashabh Ramesh Butani


Virgin Media: Delivering Awesome

Jonathan Westley

John Thornton

Milo Paterson

George Cressey


Outstanding Visual Effects in a Student Project


Creature Pinup

Christian Leitner

Juliane Walther

Kiril Mirkov

Lisa Ecker



Florian Brauch

Romain Thirion

Matthieu Pujol

Kim Tailhades


Les Pionniers de l’Univers

Clementine Courbin

Matthieu Guevel

Jérôme Van Beneden

Anthony Rege


The Endless

Nicolas Lourme

Corentin Gravend

Edouard Calemard

Romaric Vivier














Naomi Goldman

NLG Communications
Office: 424-293-2113

Cell: 310-770-2765



LinkedIn Profile


VFX house Kevin adds three industry veterans

Venice, California-based visual effects house Kevin, founded by Tim Davies, Sue Troyan and Darcy Parsons, has beefed up its team even further with the hiring of head of CG Mike Dalzell, VFX supervisor Theo Maniatis and head of technology Carl Loeffler. This three-month-old studio has already worked on spots for Jaguar, Land Rover, Target and Old Spice, and is currently working on a series of commercials for the Super Bowl.

Dalzell brings years of experience as a CG supervisor and lead artist — he started as a 3D generalist before focusing on look development and lighting — at top creative studios including Digital Domain, MPC and Psyop, The Mill, Sony Imageworks and Method. He was instrumental in look development for VFX Gold Clio and British Arrow-winner Call of Duty Seize Glory and GE’s Childlike Imagination. He has also worked on commercials for Nissan, BMW, Lexus, Visa, Cars.com, Air Force and others. Early on, Dalzell honed his skills on music videos in Toronto, and then on feature films such as Iron Man 3 and The Matrix movies, as well as The Curious Case of Benjamin Button.

Maniatis, a Flame artist and on-set VFX supervisor, has a wide breadth of experience in the US, London and his native Sydney. “Tim [Davies] and I used to work together back in Australia, so reconnecting with him and moving to LA has been a blast.”

Maniatis’s work includes spots for Apple Watch 3 + Apple Music’s Roll (directed by Sam Brown), TAG Heuer’s To Jack (directed by and featuring Patrick Dempsey), Destiny 2’s Rally the Troops and Titanfall 2’s Become One (via Blur Studios), and PlayStation VR’s Batman Arkham and Axe’s Office Love, both directed by Filip Engstrom. Prior to joining Kevin, Maniatis worked with Blur Studios, Psyop, The Mill, Art Jail and Framestore.

Loeffler is creating the studio’s production model using the latest Autodesk Flame systems, high-end 3D workstations and render nodes and putting new networking and storage systems into place. Kevin’s new Culver City studio will open its doors in Q1, 2018 and Loeffler will guide the current growth in both hardware and software, plan for the future and make sure Kevin’s studio is optimized for the needs of production. He has over two decades of experience building out and expanding the technologies for facilities including MPC and Technicolor.

Image: (L-R) Mike Dalzell, Carl Loeffler and Theo Maniatis.

Storage Roundtable

Production, post, visual effects, VR… you can’t do it without a strong infrastructure. This infrastructure must include storage and products that work hand in hand with it.

This year we spoke to a sampling of those providing storage solutions — of all kinds — for media and entertainment, as well as a storage-agnostic company that helps get your large files from point A to point B safely and quickly.

We gathered questions from real-world users — things that they would ask of these product makers if they were sitting across from them.

Quantum’s Keith Lissak
What kind of storage do you offer, and who is the main user of that storage?
We offer a complete storage ecosystem based around our StorNext shared storage and data management solution,including Xcellis high-performance primary storage, Lattus object storage and Scalar archive and cloud. Our customers include broadcasters, production companies, post facilities, animation/VFX studios, NCAA and professional sports teams, ad agencies and Fortune 500 companies.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Xcellis features continuous scalability and can be sized to precisely fit current requirements and scaled to meet future demands simply by adding storage arrays. Capacity and performance can grow independently, and no additional accelerators or controllers are needed to reach petabyte scale.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
We don’t have exact numbers, but a growing number of our customers are using cloud storage. Our FlexTier cloud-access solution can be used with both public (AWS, Microsoft Azure and Google Cloud) and private (StorageGrid, CleverSafe, Scality) storage.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
We offer a range of StorNext 4K Reference Architecture configurations for handling the demanding workflows, including 4K, 8K and VR. Our customers can choose systems with small or large form-factor HDDs, up to an all-flash SSD system with the ability to handle 66 simultaneous 4K streams.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
StorNext systems are OS-agnostic and can work with all Mac, Windows and Linux clients with no discernible difference.

Zerowait’s Rob Robinson
What kind of storage do you offer, and who is the main user of that storage?
Zerowait’s SimplStor storage product line provides storage administrators scalable, flexible and reliable on-site storage needed for their growing storage requirements and workloads. SimplStor’s platform can be configured to work in Linux or Windows environments and we have several customers with multiple petabytes in their data centers. SimplStor systems have been used in VFX production for many years and we also provide solutions for video creation and many other large data environments.

Additionally, Zerowait specializes in NetApp service, support and upgrades, and we have provided many companies in the media and VFX businesses with off-lease transferrable licensed NetApp storage solutions. Zerowait provides storage hardware, engineering and support for customers that need reliable and big storage. Our engineers support customers with private cloud storage and customers that offer public cloud storage on our storage platforms. We do not provide any public cloud services to our customers.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Our customers typically need on-site storage for processing speed and security. We have developed many techniques and monitoring solutions that we have incorporated into our service and hardware platforms. Our SimplStor and NetApp customers need storage infrastructures that scale into the multiple petabytes, and often require GigE, 10GigE or a NetApp FC connectivity solution. For customers that can’t handle the bandwidth constraints of the public Internet to process their workloads, Zerowait has the engineering experience to help our customers get the most of their on-premises storage.

How many of the people buying your solutions are using them with another cloud-based products (i.e. Microsoft Azure)?
Many of our customers use public cloud solutions for their non-proprietary data storage while using our SimplStor and NetApp hardware and support services for their proprietary, business-critical, high-speed and regulatory storage solutions where data security is required.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
SimplStor’s density and scalability make it perfect for use in HD and higher resolution environments. Our SimplStor platform is flexible and we can accommodate customers with special requests based on their unique workloads.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
Zerowait’s NetApp and SimplStor platforms are compatible with both Linux (NFS) and Windows (CIFS) environments. OS X is supported in some applications. Every customer has a unique infrastructure and set of applications they are running. Customers will see differences in performance, but our flexibility allows us to customize a solution to maximize the throughput to meet workflow requirements.

Signiant’s Mike Nash
What kind of storage works with your solution, and who is the main user or users of that storage?
Signiant’s Media Shuttle file transfer solution is storage agnostic, and for nearly 200,000 media pros worldwide it is the primary vehicle for sending and sharing large files. Even though Media Shuttle doesn’t provide storage, and many users think of their data as “in Media Shuttle.” In reality, their files are located in whatever storage their IT department has designated. This might be the company’s own on-premises storage, or it could be their AWS or Microsoft Azure cloud storage tenancy. Our users employ a Media Shuttle portal to send and share files; they don’t have to think about where the files are stored.

How are you making sure your products are scalable so people can grow either their use or the bandwidth of their networks (or both)?
Media Shuttle is delivered as a cloud-native SaaS solution, so it can be up and running immediately for new customers, and it can scale up and down as demand changes. The servers that power the software are managed by our DevOps team and monitored 24×7 — and the infrastructure is auto-scaling and instantly available. Signiant does not charge for bandwidth, so customers can use our solutions with any size pipe at no additional cost. And while Media Shuttle can scale up to support the needs of the largest media companies, the SaaS delivery model also makes it accessible to even the smallest production and post facilities.

How many of the people buying your solutions are using them with cloud storage (i.e. AWS or Microsoft Azure)?
Cloud adoption within the M&E industry remains uneven, so it’s no surprise that we see a mixed picture when we look at the storage choices our customers make. Since we first introduced the cloud storage option, there has been a constant month-over-month growth in the number of customers deploying portals with cloud storage. It’s not yet in parity with on-prem storage, but the growth trends are clear.

On-premises content storage is very far from going away. We see many Media Shuttle customers taking a hybrid approach, with some portals using cloud storage and others using on-prem storage. It’s also interesting to note that when customers do choose cloud storage, we increasingly see them use both AWS and Azure.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
We can move any size of file. As media files continue to get bigger, the value of our solutions continues to rise. Legacy solutions such as FTP, which lack any file acceleration, will grind things to a halt if 4K, 8K, VR and other huge files need to be moved between locations. And consumer-oriented sharing services like Dropbox and Google Drive become non-starters with these types of files.

What platforms do your system connect to (e.g. Mac OS X, Windows, Linux), and what differences might end-users notice when connecting on these different platforms?
Media Shuttle is designed to work with a wide range of platforms. Users simply log in to portals using any web browser. In the background, a native application installed on the user’s personal computer provides the acceleration functionality. This App works with Windows or Mac OSX systems.

On the IT side of things, no installed software is required for portals deployed with cloud storage. To connect Media Shuttle to on-premises storage, the IT team will run Signiant software on a computer in the customer’s network. This server-side software is available for Linux and Windows.

NetApp’s Jason Danielson
What kind of storage do you offer, and who is the main user of that storage?
NetApp has a wide portfolio of storage and data management products and services. We have four fundamentally different storage platforms — block, file, object and converged infrastructure. We use these platforms and our data fabric software to create a myriad of storage solutions that incorporate flash, disk and cloud storage.

1. NetApp E-Series block storage platform is used by leading shared file systems to create robust and high-bandwidth shared production storage systems. Boutique post houses, broadcast news operations and corporate video departments use these solutions for their production tier.
2. NetApp FAS network-attached file storage runs NetApp OnTap. This platform supports many thousands of applications for tens of thousands of customers in virtualized, private cloud and hybrid cloud environments. In media, this platform is designed for extreme random-access performance. It is used for rendering, transcoding, analytics, software development and the Internet-of-things pipelines.
3. NetApp StorageGrid Webscale object store manages content and data for back-up and active archive (or content repository) use cases. It scales to dozens of petabytes, billions of objects and currently 16 sites. Studios and national broadcast networks use this system and are currently moving content from tape robots and archive silos to a more accessible object tier.
4. NetApp SolidFire converged and hyper-converged platforms are used by cloud providers and enterprises running large private clouds for quality-of-service across hundreds to thousands of applications. Global media enterprises appreciate the ease of scaling, simplicity of QOS quota setting and overall maintenance for largest scale deployments.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The four platforms mentioned above scale up and scale out to support well beyond the largest media operations in the world. So our challenge is not scalability for large environments but appropriate sizing for individual environments. We are careful to design storage and data management solutions that are appropriate to media operations’ individual needs.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Seven years ago, NetApp set out on a major initiative to build the data fabric. We are well on the path now with products designed specifically for hybrid cloud (a combination of private cloud and public cloud) workloads. While the uptake in media and entertainment is slower than in other industries, we now have hundreds of customers that use our storage in hybrid cloud workloads, from backup to burst compute.

We help customers wanting to stay cloud-agnostic by using AWS, Microsoft Azure, IBM Cloud, and Google Cloud Platform flexibly and as the project and pricing demands. AWS, Microsoft Azure, IBM, Telsra and ASE along with another hundred or so cloud storage providers include NetApp storage and data management products in their service offerings.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
For higher bandwidth, or bitrate, video production we’ll generally architect a solution with our E-Series storage under either Quantum StorNext or PixitMedia PixStor. Since 2012, when the NetApp E5400 enabled the mainstream adoption of 4K workflows, the E-Series platform has seen three generations of upgrades and the controllers are now more than 4x faster. The chassis has remained the same through these upgrades so some customers have chosen to put the latest controllers into these chassis to improve bandwidth or to utilize faster network interconnect like 16 gigabit fibrechannel. Many post houses continue to use fibrechannel to the workstation for these higher bandwidth video formats while others have chosen to move to Ethernet (40 and 100 Gigabit). As flash (SSDs) continue to drop in price it is starting to be used for video production in all flash arrays or in hybrid configurations. We recently showed our new E570 all flash array supporting NVM Express over Fabrics (NVMe-oF) technology providing 21GB/s of bandwidth and 1 million IOPs with less than 100µs of latency. This technology is initially targeted at super-computing use cases and we will see if it is adopted over the next couple of years for UHD production workloads.

What platforms do your system connect to (Mac OSx, Windows, Linux, etc.), and what differences might end-users notice when connecting on these different platforms?
NetApp maintains a compatibility matrix table that delineates our support of hundreds of client operating systems and networking devices. Specifically, we support Mac OS X, Windows and various Linux distributions. Bandwidth expectations differ between these three operating systems and Ethernet and Fibre Channel connectivity options, but rather than make a blanket statement about these, we prefer to talk with customers about their specific needs and legacy equipment considerations.

G-Technology’s Greg Crosby
What kind of storage do you offer, and who is the main user of that storage?
Western Digital’s G-Technology products provide high-performing and reliable storage solutions for end-to-end creative workflows, from capture and ingest to transfer and shuttle, all the way to editing and final production.

The G-Technology brand supports a wide range of users for both field and in-studio work, with solutions that span a number of portable handheld drives — which are often times used to backup content on-the-go — all the way to in-studio drives that offer capacities up to 144TB. We recognize that each creative has their own unique workflow and some embrace the use of cloud-based products. We are proud to be companions to those cloud services as a central location to store raw content or a conduit to feed cloud features and capabilities.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Our line ranges from small portable and rugged drives to large, multi-bay RAID and NAS solutions, for all aspects of the media and entertainment industry. Integrating the latest interface technology such as USB-C or Thunderbolt 3, our storage solutions will take advantage of the ability to quickly transfer files.

We make it easy to take a ton of storage into the field. The G-Speed Shuttle XL drive is available in capacities up to 96TB, and an optional Pelican case, with handle, is available, making it easy to transport in the field and mitigating any concerns about running out of storage. We recently launched the G-Drive mobile SSD R-Series. This drive is built to withstand a three meter (nine foot) drop, and is able to endure accidental bumps or drops, given that it is a solid-state drive.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Many of our customers are using cloud-based solutions to complement their creative workflows. We find that most of our customers use our solutions as the primary storage or to easily transfer and shuttle their content since the cloud is not an efficient way to move large amounts of data. We see the cloud capabilities as a great way to share project files and low-resolution content, or collaborate with others on projects as well as distribute share a variety of deliverables.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Today’s camera technology enables not only capture at higher resolutions but also higher frame rates with more dynamic imagery. We have solutions that can easily support multi-stream 4K, 8K and VR workflows or multi-layer photo and visual effects projects. G-Technology is well positioned to support these creative workflows as we integrate the latest technologies into our storage solutions. From small portable and rugged SSD drives to high-capacity and fast multi-drive RAID solutions with the latest Thunderbolt 3 and USB-C interface technology we are ready tackle a variety of creative endeavors.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.), and what differences might users notice when connecting on these different platforms?
Our complete portfolio of external storage solutions work for Mac and PC users alike. With native support for Apple Time Machine, these solutions are formatted for Mac OS out of the box, but can be easily reformatted for Windows users. G-Technology also has a number of strategic partners with technology vendors, including Apple, Atomos, Red Camera, Adobe and Intel.

Panasas’ David Sallak
What kind of storage do you offer, and who is the main user of that storage?
Panasas ActiveStor is an enterprise-class easy-to-deploy parallel scale-out NAS (network-attached storage) that combines Flash and SATA storage with a clustered file system accessed via a high-availability client protocol driver with support for standard protocols.

The ActiveStor storage cluster consists of the ActiveStor Director (ASD-100) control engine, the ActiveStor Hybrid (ASH-100) storage enclosure, the PanFS parallel file system, and the DirectFlow parallel data access protocol for Linux and Mac OS.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
ActiveStor is engineered to scale easily. There are no specific architectural limits for how widely the ActiveStor system can scale out, and adding more workloads and more users is accomplished without system downtime. The latest release of ActiveStor can grow either storage or bandwidth needs in an environment that lets metadata responsiveness, data performance and data capacity scale independently.

For example, we quote capacity and performance numbers for a Panasas storage environment containing 200 ActiveStor Hybrid 100 storage node enclosures with 5 ActiveStor Director 100 units for filesystem metadata management. This configuration would result in a single 57PB namespace delivering 360GB/s of aggregate bandwidth with an excess of 2.6M IOPs.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Panasas customers deploy workflows and workloads in ways that are well-suited to consistent on-site performance or availability requirements, while experimenting with remote infrastructure components such as storage and compute provided by cloud vendors. The majority of Panasas customers continue to explore the right ways to leverage cloud-based products in a cost-managed way that avoids surprises.

This means that workflow requirements for file-based storage continue to take precedence when processing real-time video assets, while customers also expect that storage vendors will support the ability to use Panasas in cloud environments where the benefits of a parallel clustered data architecture can exploit the agility of underlying cloud infrastructure without impacting expectations for availability and consistency of performance.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Panasas ActiveStor is engineered to deliver superior application responsiveness via our DirectFlow parallel protocol for applications working in compressed UHD, 4K and higher-resolution media formats. Compared to traditional file-based protocols such as NFS and SMB, DirectFlow provides better granular I/O feedback to applications, resulting in client application performance that aligns well with the compressed UHD, 4K and other extreme-resolution formats.

For uncompressed data, Panasas ActiveStor is designed to support large-scale rendering of these data formats via distributed compute grids such as render farms. The parallel DirectFlow protocol results in better utilization of CPU resources in render nodes when processing frame-based UHD, 4K and higher-resolution formats, resulting in less wall clock time to produce these formats.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
Panasas ActiveStor supports macOS and Linux with our higher-performance DirectFlow parallel client software. We support all client platforms via NFS or SMB as well.

Users would notice that when connecting to Panasas ActiveStor via DirectFlow, the I/O experience is as if users were working with local media files on internal drives, compared to working with shared storage where normal protocol access may result in the slight delay associated with open network protocols.

Facilis’ Jim McKenna
What kind of storage do you offer, and who is the main user of that storage?
We have always focused on shared storage for the facility. It’s high-speed attached storage and good for anyone who’s cutting HD or 4K. Our workflow and management features really make us different than basic network storage. We have attachment to the cloud through software that uses all the latest APIs.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Most of our large customers have been with us for several years, and many started pretty small. Our method of scalability is flexible in that you can decide to simply add expansion drives, add another server, or add a head unit that aggregates multiple servers. Each method increases bandwidth as well as capacity.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Many customers use cloud, either through a corporate gateway or directly uploaded from the server. Many cloud service providers have ways of accessing the file locations from the facility desktops, so they can treat it like another hard drive. Alternatively, we can schedule, index and manage the uploads and downloads through our software.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Facilis is known for our speed. We still support Fibre Channel when everyone else, it seems, has moved completely to Ethernet, because it provides better speeds for intense 4K and beyond workflows. We can handle UHD playback on 10Gb Ethernet, and up to 4K full frame DPX 60p through Fibre Channel on a single server enclosure.

What platforms do your systems connect to (e.g. Mac OS X, Windows, Linux, etc.)? And what differences might users notice when connecting on these different platforms?
We have a custom multi-platform shared file system, not NAS (network attached storage). Even though NAS may be compatible with multiple platforms by using multiple sharing methods, permissions and optimization across platforms is not easily manageable. With Facilis, the same volume, shared one way with one set of permissions, looks and acts native to every OS and even shows up as a local hard disk on the desktop. You can’t get any more cross-platform compatible than that.

SwiftStack’s Mario Blandini
What kind of storage do you offer, and who is the main user of that storage?
We offer hybrid cloud storage for media. SwiftStack is 100% software and runs on-premises atop the server hardware you already buy using local capacity and/or capacity in public cloud buckets. Data is stored in cloud-native format, so no need for gateways, which do not scale. Our technology is used by broadcasters for active archive and OTT distribution, digital animators for distributed transcoding and mobile gaming/eSports for massive concurrency among others.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The SwiftStack software architecture separates access, storage and management, where each function can be run together or on separate hardware. Unlike storage hardware with the mix of bandwidth and capacity being fixed to the ports and drives within, SwiftStack makes it easy to scale the access tier for bandwidth independently from capacity in the storage tier by simply adding server nodes on the fly. On the storage side, capacity in public cloud buckets scales and is managed in the same single namespace.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Objectively, use of capacity in public cloud providers like Amazon Web Services and Google Cloud Platform is still “early days” for many users. Customers in media however are on the leading edge of adoption, not only for hybrid cloud extending their on-premises environment to a public cloud, but also using a second source strategy across two public clouds. Two years ago it was less than 10%, today it is approaching 40%, and by 2020 it looks like the 80/20 rule will likely apply. Users actually do not care much how their data is stored, as long as their user experience is as good or better than it was before, and public clouds are great at delivering content to users.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Arguably, larger assets produced by a growing number of cameras and computers have driven the need to store those assets differently than in the past. A petabyte is the new terabyte in media storage. Banks have many IT admins, where media shops have few. SwiftStack has the same consumption experience as public cloud, which is very different than on-premises solutions of the past. Licensing is based on the amount of data managed, not the total capacity deployed, so you pay-as-you-grow. If you save four replicas or use erasure coding for 1.5X overhead, the price is the same.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
The great thing about cloud storage, whether it is on-premises or residing with your favorite IaaS providers like AWS and Google, the interface is HTTP. In other words, every smartphone, tablet, Chromebook and computer has an identical user experience. For classic applications on systems that do not support AWS S3 as an interface, users see the storage as a mount point or folder in their application — either NFS or SMB. The best part, it is a single namespace where data can come in file, get transformed via object, and get read either way, so the user experience does not need to change even though the data is stored in the most modern way.

Dell EMC’s Tom Burns
What kind of storage do you offer, and who is the main user of that storage?
At Dell EMC, we created two storage platforms for the media and entertainment industry: the Isilon scale-out NAS All-Flash, hybrid and archive platform to consolidate and simplify file-based workflows and the Dell EMC Elastic Cloud Storage (ECS), a scalable enterprise-grade private cloud solution that provides extremely high levels of storage efficiency, resiliency and simplicity designed for both traditional and next-generation workloads.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
In the media industry, change is inevitable. That’s why every Isilon system is built to rapidly and simply adapt by allowing the storage system to scale performance and capacity together, or independently, as more space or processing power is required. This allows you to scale your storage easily as your business needs dictate.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Over the past five years, Dell EMC media and entertainment customers have added more than 1.5 exabytes of Isilon and ECS data storage to simplify and accelerate their workflows.

Isilon’s cloud tiering software, CloudPools, provides policy-based automated tiering that lets you seamlessly integrate with cloud solutions as an additional storage tier for the Isilon cluster at your data center. This allows you to address rapid data growth and optimize data center storage resources by using the cloud as a highly economical storage tier with massive storage capacity.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
As technologies that enhance the viewing experience continue to emerge, including higher frame rates and resolutions, uncompressed 4K, UHD, high dynamic range (HDR) and wide color gamut (WCG), underlying storage infrastructures must effectively scale to keep up with expanding performance requirements.

Dell EMC recently launched the sixth generation of the Isilon platform, including our all-flash (F800), which brings the simplicity and scalability of NAS to uncompressed 4K workflows — something that up until now required expensive silos of storage or complex and inefficient push-pull workflows.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc)? And what differences might end-users notice when connecting on these different platforms?
With Dell EMC Isilon, you can streamline your storage infrastructure by consolidating file-based workflows and media assets, eliminating silos of storage. Isilon scale-out NAS includes integrated support for a wide range of industry-standard protocols allowing the major operating systems to connect using the most suitable protocol, for optimum performance and feature support, including Internet Protocols IPv4, and IPv6, NFS, SMB, HTTP, FTP, OpenStack Swift-based Object access for your cloud initiatives and native Hadoop Distributed File System (HDFS).

The ECS software-defined cloud storage platform provides the ability to store, access, and manipulate unstructured data and is compatible with existing Amazon S3, OpenStack Swift APIs, EMC CAS and EMC Atmos APIs.

EditShare’s Lee Griffin
What kind of storage do you offer, and who is the main user of that storage?
Our storage platforms are tailored for collaborative media workflows and post production. It combines the advanced EFS (that’s EditShare File System, in short) distributed file system with intelligent load balancing. It’s a scalable, fault-tolerant architecture that offers cost-effective connectivity. Within our shared storage platforms, we have a unique take on current cloud workflows, with current security and reliability of cloud-based technology prohibiting full migration to cloud storage for production, EditShare AirFlow uses EFS on-premise storage to provide secure access to media from anywhere in the world with a basic Internet connection. Our main users are creative post houses, broadcasters and large corporate companies.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Recently, we upgraded all our platforms to EFS and introduced two new single-node platforms, the EFS 200 and 300. These single-node platforms allow users to grow their storage whilst keeping a single namespace which eliminates management of multiple storage volumes. It enables them to better plan for the future, when their facility requires more storage and bandwidth, they can simply add another node.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
No production is in one location, so the ability to move media securely and back up is still a high priority to our clients. From our Flow media asset management and via our automation module, we offer clients the option to backup their valuable content to places like Amazon S3 servers.

How does your system handle UHD, 4K and other higher-than HD resolutions?
We have many clients working with UHD content who are supplying programming content to broadcasters, film distributors and online subscription media providers. Our solutions are designed to work effortlessly with high data rate content, enabling the bandwidth to expand with the addition of more EFS nodes to the intelligent storage pool. So, our system is ready and working now for 4K content and is future proof for even higher data rates in the future.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
EditShare supplies native client EFS drivers to all three platforms, allowing clients to pick and choose which platform they want to work on. If it is an Autodesk Flame for VFX, a Resolve for grading or our own Lightworks for editing on Linux, we don’t mind. In fact, EFS offers a considerable bandwidth improvement when using our EFS drivers over existing AFP and SMB protocol. Improved bandwidth and speed to all three platforms makes for happy clients!

And there are no differences when clients connect. We work with all three platforms the same way, offering a unified workflow to all creative machines, whether on Mac, Windows or PC.

Scale Logic’s Bob Herzan
What kind of storage do you offer, and who is the main user of that storage?
Scale Logic has developed an ecosystem (Genesis Platform) that includes servers, networking, metadata controllers, single and dual-controller RAID products and purpose-built appliances.

We have three different file systems that allow us to use the storage mentioned above to build SAN, NAS, scale-out NAS, object storage and gateways for private and public cloud. We use a combination of disk, tape and Flash technology to build our tiers of storage that allows us to manage media content efficiently with the ability to scale seamlessly as our customers’ requirements change over time.

We work with customers that range from small to enterprise and everything in between. We have a global customer base that includes broadcasters, post production, VFX, corporate, sports and house of worship.

In addition to the Genesis Platform we have also certified three other tier 1 storage vendors to work under our HyperMDC SAN and scale-out NAS metadata controller (HPE, HDS and NetApp). These partnerships complete our ability to consult with any type of customer looking to deploy a media-centric workflow.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
Great questions and it’s actually built into the name and culture of our company. When we bring a solution to market it has to scale seamlessly and it needs to be logical when taking the customer’s environment into consideration. We focus on being able to start small but scale any system into a high-availability solution with limited to no downtime. Our solutions can scale independently if clients are looking to add capacity, performance or redundancy.

For example, a customer looking to move to 4K uncompressed workflows could add a Genesis Unlimited as a new workspace focused on the 4K workflow, keeping all existing infrastructure in place alongside it, avoiding major adjustments to their facility’s workflow. As more and more projects move to 4K, the Unlimited can scale capacity, performance and the needed HA requirements with zero downtime.

Customers can then start to migrate their content from their legacy storage over to Unlimited and then repurpose their legacy storage onto the HyperFS file system as second tier storage.Finally, once we have moved the legacy storage onto the new file system we also are more than happy to bring the legacy storage and networking hardware under our global support agreements.

How many of the people buying your solutions are using them with another cloud-based product (i.e. Microsoft Azure)?
Cloud continues to be ramping up for our industry, and we have many customers using cloud solutions for various aspects of their workflow. As it pertains to content creation, manipulation and long-term archive, we have not seen much adoption with our customer base. The economics just do not support the level of performance or capacity our clients demand.

However, private cloud or cloud-like configurations are becoming more mainstream for our larger customers. Working with on-premise storage while having DR (disaster recovery) replication offsite continues to be the best solution at this point for most of our clients.

How does your system handle UHD, 4K and other higher-than-HD resolutions?
Our solutions are built not only for the current resolutions but completely scalable to go beyond them. Many of our HD customers are now putting in UHD and 4K workspaces on the same equipment we installed three years ago. In addition to 4K we have been working with several companies in Asia that have been using our HyperFS file system and Genesis HyperMDC to build 8K workflows for the Olympics.

We have a number of solutions designed to meet our customer’s requirements. Some are done with spinning disk, others with all flash, and then even more that want a hybrid approach to seamlessly combine the technologies.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
All of our solutions are designed to support Windows, Linux, and Mac OS. However, how they support the various operating systems is based on the protocol (block or file) we are designing for the facility. If we are building a SAN that is strictly going to be block level access (8/16/32 Gbps Fibre Channel or 1/10/25/40/100 Gbps iSCSI, we would use our HyperFS file system and universal client drivers across all operating systems. If our clients also are looking for network protocols in addition to the block level clients we can support jSMB and NFS but allow access to block and file folders and files at the same time.

For customers that are not looking for block level access, we would then focus our design work around our Genesis NX or ZX product line. Both of these solutions are based on a NAS operating system and simply present themselves with the appropriate protocol over 1/10/25/40 or 100Gb. Genesis ZX solution is actually a software-defined clustered NAS with enterprise feature sets such as unlimited snapshots, metro clustering, thin provisioning and will scale up over 5 Petabytes.

Sonnet Technologies‘ Greg LaPorte
What kind of storage do you offer, and who is the main user of that storage?
We offer a portable, bus-powered Thunderbolt 3 SSD storage device that fits in your hand. Primary users of this product include video editors and DITs who need a “scratch drive” fast enough to support editing 4K video at 60fps while on location or traveling.

How are you making sure your products are scalable so people can grow either their storage or bandwidth needs (or both)?
The Fusion Thunderbolt 3 PCIe Flash Drive is currently available with 1TB capacity. With data transfer of up to 2,600 MB/s supported, most users will not run out of bandwidth when using this device.

What platforms do your systems connect to (Mac OS X, Windows, Linux, etc.)? And what differences might end-users notice when connecting on these different platforms?
Computers with Thunderbolt 3 ports running either macOS Sierra or High Sierra, or Windows 10 are supported. The drive may be formatted to suit the user’s needs, with either an OS-specific format such as HFS+, or cross-platform format such as exFAT.

Dementia 13: Helping enhance the horror with VFX

By Randi Altman

As scary movies are making a comeback and putting butts in seats, as they say, the timing couldn’t be better for NBC Universal’s remake of Dementia 13, a 1963 horror film directed by Francis Ford Coppola. The 2017 version, directed by Richard LeMay, can be streamed on all major VOD platforms. It focuses on a vengeful ghost, a mysterious murderer and a family with a secret. Jeremy Wanek was the lead VFX artist on Dementia 13, and Wayne Harry Johnson Jr. was the VFX producer. They are from Black Space VFX. We reached out to them with some questions.

Jeremy Wanek

How early did you get involved in Dementia 13?
Johnson: We were involved from the second or third draft of the script. Dan De Filippo, who wrote and produced the film, wanted our feedback immediately in terms of what was possible for VFX in the film. We worked with them through pre-production and even fielded a few questions during production. It is extremely important to start thinking about VFX immediately in any production. That way you can write for it and plan your shoot for it. There is nothing worse than a production hoping it can be fixed by VFX work. So getting us involved right away saves everyone a lot of time and money.

Wanek: During preproduction it seems incredibly common for filmmakers to underestimate how many effect shots there will be on their films. They forget about the simple/invisible effects, while concentrating on the bigger and flashier stuff. I don’t blame them; it’s nearly impossible to figure everything out ahead of time. There are always unexpected things that come up during production as well. Always.

For example, on Dementia 13 they shot in this really cool castle location, but they found out while on production that they couldn’t use as many of the practical blood effects as they intended. They didn’t want a bloody mess! So, we were asked to do more digital blood effects and enhancements.

Wayne Harry Johnson, Jr.

Were they open to suggestions from you or did they have a very specific idea of what they wanted?
Johnson: As in every production, there are always elements that are very specifically asked for, but director Richard LeMay is very collaborative. We discussed in great detail the look of all the important effects. And he was very open to suggestions and ideas. This was our second film with Rich. We also did the VFX work on his new film Blood Bound, and it has been a great creative relationship. We can’t wait to work with him again.

Wanek: Yeah, Rich has a vision for sure, but he always gives us creative freedom to explore options and see what we can come up with. I think that’s the best of both worlds.

How many shots did you provide?
Johnson: We did roughly 60 VFX shots for the film, and hopefully the audience won’t notice all of them. If we do our jobs correctly, most VFX work is invisible. As in all films there are little things that get cleaned up or straightened out. VFX isn’t just about robots and explosions. It has a lot to do with keeping the film looking the best it can be by hiding the blemishes that could not be avoided during production.

So again it is important for the filmmakers to consult on their film as they go and ask questions as they go. We all want the same thing for the film, and that is to make it the best it can be and sometimes that means painting out a light switch or removing a sign on that beautiful shot of a road.

Wanek: It’s interesting to note how many shots were intended during preproduction and how many we ended up doing in post. I’d say we ended up doing at least twice as many shots, which is not uncommon. There are elements like the smoke on Kathleen, the ghost girl, when it’s hard to know exactly how many times you’re going to cut to a shot of her. Half of the effect shots for the movie involved creating her ghostly appearance.

Ghost girl Kathleen.

Can you describe the type of effects you provided on the show?
Wanek: We did muzzle flashes, wire removal, visible breath from characters in a cold environment, frost that encapsulates windows, digital hands that pull a character off a dock and into water (that included a digital water splash), the Kathleen ghost effect and an assortment of blood effects.

You created a lot of element effects, such as smoke, water, blood, etc. What was the hardest one to create and why?
Wanek: Creating the smoke that blankets Kathleen was the most challenging and time consuming effect. There were about 30 shots of her in total, and I tackled them myself. With the quick turnaround on the film, it made for some long nights. Every action she performed, and each new camera angle, presented unique challenges. Thankfully, she doesn’t move much in most of the shots. But for shots where she picks a gun up from the ground, or walks across the room, I had to play around with the physics to make it play more realistically, which takes time.

What tools did you use on this project?
Wanek: We composited in Adobe After Effects, tracked in Mocha AE, used Photoshop to assist in painting out objects/wire removal, and I relied heavily on Red Giant’s Trapcode Particular to create the particle effects — ghostly smoke, some of the blood effects and a digital water splash.

Our artists work remotely, so we stored the shots on Dropbox to easily send them out to other artists on the team, who would then download them to their own hard drives. To review shots it was a similar process, using Dropbox and emailing the director a link to stream/download. We kept shot names and the progress info on all shots organized using a Google spreadsheet. This was great because we could update it live, and everyone was on the same page at all times.

CG hands.

Turnarounds are typically tight? Was that the case with Dementia 13? If so, how did you make it work?
Johnson: Yes, we had roughly 30 days to complete the VFX work on the film. Tight deadlines can be hard but we were aware of that when we went into it. What really helps with managing tight deadlines is all the upfront communication between us and the director. By the time we started we knew exactly what Rich was looking for so dialing it in was a much easier and faster process. We also previewed early cuts of the film so we could see and anticipate any potential problems ahead of time. Planning and preparing solves most problems even when time is tight.

So as I said, having VFX involved from the very beginning is essential. Bring us in early, even when it’s just a treatment. We can get a sense of what needs to be done, how long it will take and start estimating budgets. The thing that makes tight deadlines hard is that lots of filmmakers think about VFX last, or very late in the process. Then when they want it done fast they have to compromise because the effect may not have been planned right. So as you can see we have a theme, call us early on.

Wanek: And as I mentioned earlier, unexpected things happen. The dreaded, “we’ll fix it in post,” is a real thing, unfortunately. Filmmakers need to make sure they have additional VFX budget for those surprises.

What was the most challenging part of the process?
Johnson: Each area can have its own challenges. But making anything move like liquid and look convincing is hard. We worked on some ghostly blood effects in the title sequence of the film that were difficult, but in the end we think it looks great. It is a subtle plant for the audience to know there is a bit of supernatural action in this film. Our company is also a virtual company, meaning all of us work remotely. So sometimes communication internally and with clients can be a challenge, but in the end a quick phone call usually solves most problems. Again, more communication and earlier involvement helps alleviate a lot of issues.

CG blood spurts.

What’s next for you and your studio, and where are you based?
Wanek: We are based in Minneapolis, and just opened a second office in New York City. Wayne, myself and Adam Natrop are partners in the company. We’re currently in post production on a horror comedy zombie/hockey movie, Ahockalypse. It’s wackier than it sounds. It’s a lot of fun and pretty bold!

Wayne wrote and directed the film, and I edited it. We just handed it off to our sound designer, to our composer, and are starting work on the VFX. We’re hoping to finish before the year is up. We have several projects on the horizon that we can’t say anything about yet, but we’re excited!

Behind the Title: Framestore director of production & ops Sarah Hiddlestone

NAME: Sarah Hiddlestone

COMPANY: Framestore

Framestore is a BAFTA-and Oscar-winning visual effects studio. We produce visual content for any screen from films and TV programs to theme park rides to large-scale installations and virtual/augmented/mixed realities.

Director of Production & Operations

My role oversees daily negotiation and communication, and ensures that the New York office runs smoothly. I focus on creating an environment, studio culture and working process that allows teams to produce high-quality work on time and on budget. My role looks at the bigger picture, ensuring projects are run as efficiently as possible. I’m constantly problem-solving and pushing to create the best working environment for our clients and creative talent.


Choosing soap.

My talented production team and our talented artists — they are the life and soul of all the work we produce at Framestore.


The morning. I’m usually one of the first in, and I get a lot done as the office wakes up.

Living as a beach bum in Bali.

I fell into this profession. I always loved animation, but studied hospitality management — thought I wanted to be a chef but hated the hours. Oh, the irony. I worked my way up from a PA, learning everything I know on the job. Along the way I’ve developed vital, in-depth knowledge of the production, VFX, VR and emerging technology processes, and the ability to see Framestore as a global whole rather than at individual office or project level.

Working in VFX has allowed me to travel the world, live in different cities (Sydney, New York, London) and meet a network of firm friends that span the globe. My VFX family. I am lucky to have worked at Framestore in both the London and NY offices.

Fantastic Beasts experience

I am behind the scenes on most of the jobs that come out of the NY office. A stand out for our New York office would include last year’s virtual school bus experience Field Trip to Mars with Lockheed Martin and McCann. It’s gone on to win over 100 awards and truly showed the strength and diversity of our staff. More recently we worked with multiple Academy Award-winner Emmanuel “Chivo” Lubezki to visualize One Night for Absolut and BBH. Our New York office collaborated with Framestore’s film teams in London and Montreal to produce the Fantastic Beasts and Where to Find Them experience.

My personal all-time favorite is Chemical Brothers’ Salmon Dance, which I produced when working in the London office of Framestore for Dom & Nic at Outsider. I also love The Tale of Three Brothers (an animated storybook within Harry Potter and the Deathly Hallows: Part 1). It is a stunning piece of work.

There’s just one: my iPhone.

Pilates, boxing, sitting in silence, lots of slow breathing. Thinking “calm blue ocean.”