OWC 12.4

Category Archives: 2D

VFX supervisor Christoph Schröer joins NYC’s Artjail

New York City-based VFX house Artjail has added Christoph Schröer as VFX supervisor. Previously a VFX supervisor/senior compositor at The Mill, Schröer brings over a decade of experience to his new role at Artjail. His work has been featured in spots for Mercedes-Benz, Visa, Volkswagen, Samsung, BMW, Hennessy and Cartier.

Combining his computer technology expertise and a passion for graffiti design, Schröer applied his degree in Computer and Media Sciences to begin his career in VFX. He started off working at visual effects studios in Germany and Switzerland where he collaborated with a variety of European auto clients. His credits from his tenure in the European market include lead compositor for multiple Mercedes-Benz spots, two global Volkswagen campaign launches and BMW’s “Rev Up Your Family.”

In 2016, Schröer made the move to New York to take on a role as senior compositor and VFX supervisor at The Mill. There, he teamed with directors such as Tarsem Singh and Derek Cianfrance, and worked on campaigns for Hennessy, Nissan Altima, Samsung, Cartier and Visa.

Autodesk Arnold 5.3 with Arnold GPU in public beta

Autodesk has made its Arnold 5.3 with Arnold GPU available as a public beta. The release provides artists with GPU rendering for a set number of features, and the flexibility to choose between rendering on the CPU or GPU without changing renderers.

From look development to lighting, support for GPU acceleration brings greater interactivity and speed to artist workflows, helping reduce iteration and review cycles. Arnold 5.3 also adds new functionality to help maximize performance and give artists more control over their rendering processes, including updates to adaptive sampling, a new version of the Randomwalk SSS mode and improved Operator UX.

Arnold GPU rendering makes it easier for artists and small studios to iterate quickly in a fast working environment and scale rendering capacity to accommodate project demands. From within the standard Arnold interface, users can switch between rendering on the CPU and GPU with a single click. Arnold GPU currently supports features such as arbitrary shading networks, SSS, hair, atmospherics, instancing, and procedurals. Arnold GPU is based on the Nvidia OptiX framework and is optimized to leverage Nvidia RTX technology.

New feature summary:
— Major improvements to quality and performance for adaptive sampling, helping to reduce render times without jeopardizing final image quality
— Improved version of Randomwalk SSS mode for more realistic shading
— Enhanced usability for Standard Surface, giving users more control
— Improvements to the Operator framework
— Better sampling of Skydome lights, reducing direct illumination noise
— Updates to support for MaterialX, allowing users to save a shading network as a MaterialX look

Arnold 5.3 with Arnold GPU in public beta will be available March 20 as a standalone subscription or with a collection of end-to-end creative tools within the Autodesk Media & Entertainment Collection. You can also try Arnold GPU with a free 30-day trial of Arnold. Arnold GPU is available in all supported plug-ins for Autodesk Maya, Autodesk 3ds Max, Houdini, Cinema 4D and Katana.

OWC 12.4

Sandbox VR partners with Vicon on Amber Sky 2088 experience

VR gaming company Sandbox VR has been partnering and working with Vicon motion capture tools to create next-generation immersive experiences. By using Vicon’s motion capture cameras and its location-based VR (LBVR) software Evoke, the Hong Kong-based Sandbox VR is working to transport up to six people at a time into the Amber Sky 2088 experience, which takes place in a future where the fate of humanity lies in the balance.

Sandbox VR’s adventures resemble movies where the players become the characters. With two proprietary AAA-quality games already in operation across Sandbox VR’s seven locations, for its third title, Amber Sky 2088, a new motion capture solution was needed. In the futuristic game, users step into the role of androids, granting players abilities far beyond the average human while still scaling the game to their actual movements. To accurately convey that for multiple users in a free-roam environment, precision tracking and flexible scalability were vital. For that, Sandbox VR turned to Vicon.

Set in the twilight of the 21st century, Amber Sky 2088 takes players to a futuristic version of Hong Kong, then through the clouds to the edge of space to fight off an alien invasion. Android abilities allow players to react with incredible strength and move at speeds fast enough to dodge bullets. And while the in-game action is furious, participants in the real-world — equipped with VR headsets —  freely roam an open environment as Vicon LBVR motion capture cameras track their movement.

Vicon’s motion capture cameras record every player movement, then send the data to its Evoke software, a solution introduced last year as part of its LBVR platform, Origin. Vicon’s solution offers  precise tracking, while also animating player motion in realtime, creating a seamless in-game experience. Automatic re-calibration also makes the experience’s operation easier than ever despite its complex nature, and the system’s scalability means fewer cameras can be used to capture more movement, making it cost-effective for large scale expansion.

Since its founding in 2016, Sandbox VR has been creating interactive experiences by combining motion capture technology with virtual reality. After opening its first location in Hong Kong in 2017, the company has since expanded to seven locations across Asia and North America, with six new sites on the way. Each 30- to 60-minute experience is created in-house by Sandbox VR, and each can accommodate up to six players at a time.

The recent partnership with Vicon is the first step in Sandbox VR’s expansion plans that will see it open over 40 experience rooms across 12 new locations around the world by the end of the year. In considering its plans to build and operate new locations, the VR makers chose to start with five systems from Vicon, in part because of the company’s collaborative nature.


Behind the Title: Gentleman Scholar MD/EP Jo Arghiris

LA-based Jo Arghiris embraces the creativity of the job and enjoys “pulling treatments together with our directors. It’s always such a fun, collaborative process.” Find out more…

Name: Jo Arghiris

Company: Gentleman Scholar (@gentscholar)

Can You Describe Your Company?
Gentleman Scholar is a creative production studio, drawn together by a love of design and an eagerness to push boundaries.  Since launching in Los Angeles in 2010, and expanding to New York in 2016, we have evolved within the disciplines of live-action production, digital exploration, print and VR. At our very core, we are a band of passionate artists and fearless makers.

The biggest thing that struck me when I joined Scholar was everyone’s willingness to roll up their sleeves and give it a go. There are so many creative people working across both our studios, it’s quite amazing what we can achieve when we put our collective minds to it. In fact, it’s really hard to put us in a category or to define what we do on a day-to-day basis. But if I had to sum it up in just one word, our company feels like “home”; there’s no place quite like it.

What’s Your Job Title?
Managing Director/EP Los Angeles

What Does That Entail?
Truth be told, it’s evolving all the time. In its purest form, my job entails having top-line involvement on everything going on in the LA studio, both from operational and new business POVs. I face inwards and outwards. I mentor and I project. I lead and I follow. But the main thing I want to mention is that I couldn’t do my job without all these incredible people by my side. It really does take a village, every single day.

What Would Surprise People the Most About What Falls Under That Title?
Not so much “surprising” but certainly different from other roles, is that my job is never done (or at least it shouldn’t be). I never go home with all my to-do’s ticked off. The deck is constantly shuffled and re-dealt. This fluidity can be off-putting to some people who like to have a clear idea of what they need to achieve on any given day. But I really like to work that way, as it keeps my mind nimble and fresh.

What’s Your Favorite Part of the Job?
Learning new things and expanding my mind. I like to see our teams push themselves in this way, too. It’s incredibly satisfying watching folks overcome challenges and grow into their roles. Also, I obviously love winning work, especially if it’s an intense pitch process. I’m a creative person and I really enjoy pulling treatments together with our directors. It’s always such a fun, collaborative process.

What’s Your Least Favorite?
Well, I guess the 24/7 availability thing that we’ve all become accustomed to and are all guilty of. It’s so, so important for us to have boundaries. If I’m emailing the team late at night or on the weekend, I will write in the subject line, “For the Morning” or “For Monday.” I sometimes need to get stuff set up in advance, but I absolutely do not expect a response at 10pm on a Sunday night. To do your best work, it’s essential that you have a healthy work/life balance.

What is Your Favorite Time of the Day?
As clichéd as it may sound, I love to get up before anyone else and sit, in silence, with a cup of coffee. I’m a one-a-day kind of girl, so it’s pretty sacred to me. Weekdays or weekends, I have so much going on, I need to set my day up in these few solitary moments. I am not a night person at all and can usually be found fast asleep on the sofa sometime around 9pm each night. Equally favorite is when my kids get up and we do “huggle” time together, before the day takes us away on our separate journeys.

Bleacher Report

Can you Name Some Recent Projects?
Gentleman Scholar worked on a big Acura TLX campaign, which is probably one of my all-time favorites. Other fun projects include Legends Club for Timberland, Upwork “Hey World!” campaign from Duncan Channon, the Sponsor Reel for the 2018 AICP Show and Bleacher Report’s Sports Alphabet.

If You Didn’t Have This Job, What Would You be Doing Instead?
I love photography, writing and traveling. So if I could do it all again, I’d be some kind of travel writer/photographer combo or a journalist or something. My brother actually does just that, and I’m super-proud of his choices. To stand behind your own creative point of view takes skill and dedication.

How Did You Know This Would Be Your Path?
The road has been long, and it has carried me from London to New York to Los Angeles. I originally started in post production and VFX, where I got a taste for creative problem-solving. The jump from this world to a creative production studio like Scholar was perfectly timed and I relished the learning curve that came with it. I think it’s quite hard to have a defined “path” these days.

My advice to anyone getting into our industry right now would be to understand that knowledge and education are powerful tools, so go out of your way to harness them. And never stand still; always keep pushing yourself.

Name Three Pieces of Technology You Can’t Live Without.
My Ear Pods — so happy to not have that charging/listening conflict with my iPhone anymore; all the apps that allow me to streamline my life and get shit done any time of day no matter what, no matter where; I think my electric toothbrush is pretty high up there too. Can I have one more? Not “tech” per se, but my super-cute mini-hair straightener, which make my bangs look on point, even after working out!

What Social Media Channels Do You Follow?
Well, I like Instagram mostly. Do you count Pinterest? I love a Pinterest board. I have many of those. And I read Twitter, but I don’t Tweet too much. To be honest, I’m pretty lame on social media, and all my accounts are private. But I realize they are such important tools in our industry so I use them on an as-needed basis. Also, it’s something I need to consider soon for my kids, who are obsessed with watching random, “how-to” videos online and periodically ask me, “Are you going to put that on YouTube?” So I need to keep on top of it, not just for work, but also for them. It will be their world very soon.

Do You Listen to Music While You Work? Care to Share Your Favorite Music to Work to?
Yes, I have a Sonos set up in my office. I listen to a lot of playlists — found ones and the random ones that your streaming services build for you. Earlier this morning I had an album called Smino by blkswn playing. Right now I’m listening to a band called Pronoun. They were on a playlist Nylon Studios released called, “All the Brooklyn Bands You Should Be Listening To.”

My drive home is all about the podcast. I’m trying to educate myself more on American history at the moment. I’m also tempted to get into Babel and learn French. With all the hours I spend in the car, I’m pretty sure I would be fluent in no time!

What Do You Do to De-stress From it All?
So many things! I literally never stop. Hot yoga, spinning, hiking, mountain biking, cooking and thinking of new projects for my house. Road tripping, camping and exploring new places with my family and friends. Taking photographs and doing art projects with my kids. My all-time favorite thing to do is hit the beach for the day, winter and summer. I find it one of the most restorative places on Earth. I’m so happy to call LA my home. It suits me down to the ground!


Autodesk cloud-enabled tools now work with BeBop post platform

Autodesk has enabled use of its software in the cloud — including 3DS Max, Arnold, Flame and Maya — and BeBop Technology will deploy the tools on its cloud-based post platform. The BeBop platform enables processing-heavy post projects, such as visual effects and editing, in the cloud on powerful and highly secure virtualized desktops. Creatives can process, render, manage and deliver media files from anywhere on BeBop using any computer and as small as a 20Mbps Internet connection.

The ongoing deployment of Autodesk software on the BeBop platform mirrors the ways BeBop and Adobe work closely together to optimize the experience of Adobe Creative Cloud subscribers. Adobe applications have been available natively on BeBop since April 2018.

Autodesk software users will now also gain access to BeBop Rocket Uploader, which enables ingestion of large media files at incredibly high speeds for a predictable monthly fee with no volume limits. Additionally, BeBop Over the Shoulder (OTS) enables secure and affordable remote collaboration, review and approval sessions in real-time. BeBop runs on all of the major public clouds, including Amazon Web Services (AWS), Google Cloud Platform (GCP), and Microsoft Azure.


Behind the Title: Carousel’s Head of VFX/CD Jeff Spangler

This creative has been an artist for as long as he could remember. “I’ve always loved the process of creation and can’t imagine any career where I’m not making something,” he says.

Name: Jeff Spangler

Company: NYC’s Carousel

Can you describe your company?
Carousel is a “creative collective” that was a response to this rapidly changing industry we all know and love. Our offerings range from agency creative services to editorial, design, animation (including both motion design and CGI), retouching, color correction, compositing, music licensing, content creation, and pretty much everything that falls between.

We have created a flexible workflow that covers everything from concept to execution (and delivery), while also allowing for clients whose needs are less all-encompassing to step on or off at any point in the process. That’s just one of the reasons we called ourselves Carousel — our clients have the freedom to climb on board for as much of the ride as they desire. And with the different disciplines all living under the same roof, we find that a lot of the inefficiencies and miscommunications that can get in the way of achieving the best possible result are eliminated.

What’s your job title?
Head of VFX/Creative Director

What does that entail?
That’s a really good question. There is the industry standard definition of that title as it applies to most companies. But it’s quite different if you are talking about a collective that combines creative with post production, animation and design. So for me, the dual role of CD and head of VFX works in a couple of ways. Where we have the opportunity to work with agencies, I am able to bring my experience and talents as a VFX lead to bear, communicating with the agency creatives and ensuring that the different Carousel artist involved are all able to collaborate and communicate effectively to get the work done.

Alternatively, when we work direct-to-client, I get involved much earlier in the process, collaborating with the Carousel creative directors to conceptualize and pitch new ideas, design brand elements, visualize concept art, storyboard and write copy or even work with stargeists to help hone the direction and target of a campaign.

That’s the true strength of Carousel — getting creatives from different backgrounds involved early on in the process where their experience and talent can make a much bigger impact in the long run. Most importantly, my role is not about dictating direction as much as it is about guiding and allowing for people’s talents to shine. You have to give artists the room to flourish if you really want to serve your clients and are serious about getting them something more than what they expected.

What would surprise people the most about what falls under that title?
I think that there is this misconception that it’s one creative sitting in a room that comes up with the “Big Idea” and he or she just dictates that idea to everyone. My experience is that any good idea started out as a lot of different ideas that were merged, pruned, refined and polished until they began to resemble something truly great.

Then after 24 hours, you look at that idea again and tear it apart because all of the flaws have started to show and you realize it still needs to be pummeled into shape. That process is generally a collaboration within a group of talented people who all look at the world very differently.

What tools do you use?
Anything that I can get my hands on (and my brain wrapped around). My foundation is as a traditional artist and animator and I find that those core skills are really the strength behind what I do everyday. I started out after college as a broadcast designer and later transitioned into a Flame artist where I spent many years working as a beauty retouch artist and motion designer.

These days, I primarily use Adobe Creative Suite as my role has become more creative in nature. I use Photoshop for digital painting and concept art , Illustrator for design and InDesign for layouts and decks. I also have a lot of experience in After Effects and Autodesk Maya and will use those tools for any animation or CGI that requires me to be hands-on, even if just to communicate the initial concept or design.

What’s your favorite part of the job?
Coming up with new ideas at the very start. At that point, the gloves are off and everything is possible.

What’s your least favorite?
Navigating politics within the industry that can sometimes get in the way of people doing their best work.

What is your favorite time of the day?
I’m definitely more of a night person. But if I had to choose a favorite time of day, it would be early morning — before everything has really started and there’s still a ton of anticipation and potential.

If you didn’t have this job, what would you be doing instead?
Working as a full-time concept artist. Or a logo designer. While I frequently have the opportunity to do both of those things in my role at Carousel, they are, for me, the most rewarding expression of being creative.

A&E’s Scraps

How early on did you know this would be your path?
I’ve been an artist for as long as I can remember and never really had any desire (or ability) to set it aside. I’ve always loved the process of creation and can’t imagine any career where I’m not “making” something.

Can you name some recents projects you have worked on?
We are wrapping up Season 2 of an A&E food show titled Scraps that has allowed us to flex our animation muscles. We’ve also been doing some in-store work with Victoria’s Secret for some of their flagship stores that has been amazing in terms of collaboration and results.

What is the project that you are most proud of?
It’s always hard to pick a favorite and my answer would probably change if you asked me more than once. But I recently had the opportunity to work with an up-and-coming eSports company to develop their logo. Collaborating with their CD, we landed on a design and aesthetic that makes me smile every time I see it out there. The client has taken that initial work and continues to surprise me with the way they use it across print, social media, swag, etc. Seeing their ability to be creative and flexible with what I designed is just validation that I did a good job. That makes me proud.

Name pieces of technology you can’t live without.
My iPad Pro. It’s my portable sketch tablet and presentation device that also makes for a damn good movie player during long commutes.

What do you do to de-stress from it all?
Muay Thai. Don’t get me wrong. I’m no serious martial artist and have never had the time to dedicate myself properly. But working out by punching and kicking a heavy bag can be very cathartic.


Review: Boris FX’s Continuum and Mocha Pro 2019

By Brady Betzel

I realize I might sound like a broken record, but if you are looking for the best plugin to help with object removals or masking, you should seriously consider the Mocha Pro plugin. And if you work inside of Avid Media Composer, you should also seriously consider Boris Continuum and/or Sapphire, which can use the power of Mocha.

As an online editor, I consistently use Continuum along with Mocha for tight blur and mask tracking. If you use After Effects, there is even a whittled-down version of Mocha built in for free. For those pros who don’t want to deal with Mocha inside of an app, it also comes as a standalone software solution where you can copy and paste tracking data between apps or even export the masks, object removals or insertions as self-contained files.

The latest releases of Continuum and Mocha Pro 2019 continue the evolution of Boris FX’s role in post production image restoration, keying and general VFX plugins, at least inside of NLEs like Media Composer and Adobe Premiere.

Mocha Pro

As an online editor I am alway calling on Continuum for its great Chroma Key Studio, Flicker Fixer and blurring. Because Mocha is built into Continuum, I am able to quickly track (backwards and forwards) difficult shapes and even erase shapes that the built-in Media Composer tools simply can’t do. But if you are lucky enough to own Mocha Pro you also get access to some amazing tools that go beyond planar tracking — such as automated object removal, object insertion, stabilizing and much more.

Boris FX’s latest updates to Boris Continuum and Mocha Pro go even further than what I’ve already mentioned and have resulted in a new version naming, this round we are at 2019 (think of it as Version 12). They have also created the new Application Manager, which makes it a little easier to find the latest downloads. You can find them here. This really helps when jumping between machines and you need to quickly activate and deactivate licenses.

Boris Continuum 2019
I often get offline edits effects from a variety plugins — lens flares, random edits, light flashes, whip transitions, and many more — so I need Continuum to be compatible with offline clients. I also need to use it for image repair and compositing.

In this latest version of Continuum, BorisFX has not only kept plugins like Primatte Studio, they have brought back Particle Illusion and updated Mocha and Title Studio. Overall, Continuum and Mocha Pro 2019 feel a lot snappier when applying and rendering effects, probably because of the overall GPU-acceleration improvements.

Particle Illusion has been brought back from the brink of death in Continuum 2019 for a 64-bit keyframe-able particle emitter system that can even be tracked and masked with Mocha. In this revamp of Particle Illusion there is an updated interface, realtime GPU-based particle generation, expanded and improved emitter library (complete with motion-blur-enabled particle systems) and even a standalone app that can design systems to be used in the host app — you cannot render systems inside of the standalone app.

While Particle Illusion is a part of the entire Continuum toolset that works with OFX apps like Blackmagic’s DaVinci Resolve, Media Composer, After Effects, and Premiere, it seems to work best in applications like After Effects, which can handle composites simply and naturally. Inside the Particle Illusion interface you can find all of the pre-built emitters. If you only have a handful make sure you download additional emitters, which you can find in the Boris FX App Manager.

       
Particle Illusion: Before and After

I had a hard time seeing my footage in a Media Composer timeline inside of Particle Illusion, but I could still pick my emitter, change specs like life and opacity, exit out and apply to my footage. I used Mocha to track some fire from Particle Illusion to a dumpster I had filmed. Once I dialed in the emitter, I launched Mocha and tracked the dumpster.

The first time I went into Mocha I didn’t see the preset tracks for the emitter or the world in which the emitter lives. The second time I launched Mocha, I saw track points. From there you can track where you want your emitter to track and be placed. Once you are done and happy with your track, jump back to your timeline where it should be reflected. In Media Composer I noticed that I had to go to the Mocha options and change the option from Mocha Shape to no shape. Essentially, the Mocha shape will act like a matte and cut off anything outside the matte.

If you are inside of After Effects, most parameters can now be keyframed and parented (aka pick-whipped) natively in the timeline. The Particle Illusion plugin is a quick, easy and good-looking tool to add sparks, Milky Way-like star trails or even fireworks to any scene. Check out @SurfacedStudio’s tutorial on Particle Illusion to get a good sense of how it works in Adobe Premiere Pro.

Continuum Title Studio
When inside of Media Composer (prior to the latest release 2018.12), there were very few ways to create titles that were higher resolution than HD (1920×1080) — the New Blue Titler was the only other option if you wanted to stay within Media Composer.

Title Studio within Media Composer

At first, the Continuum Title Studio interface appeared to be a mildly updated Boris Red interface — and I am allergic to the Boris Red interface. Some of the icons for the keyframing and the way properties are adjusted looks similar and threw me off. I tried really hard to jump into Title Studio and love it, but I really never got comfortable with it.

On the flip side, there are hundreds of presets that could help build quick titles that render a lot faster than New Blue Titler did. In some of the presets I noticed the text was placed outside of 16×9 Title Safety, which is odd since that is kind of a long standing rule in television. In the author’s defense, they are within Action Safety, but still.

If you need a quick way to make 4K titles, Title Studio might be what you want. The updated Title Studio includes realtime playback using the GPU instead of the CPU, new materials, new shaders and external monitoring support using Blackmagic hardware (AJA will be coming at some point). There are some great pre-sets including pre-built slates, lower thirds, kinetic text and even progress bars.

If you don’t have Mocha Pro, Continuum can still access and use Mocha to track shapes and masks. Almost every plugin can access Mocha and can track objects quickly and easily.
That brings me to the newly updated Mocha, which has some new features that are extremely helpful including a Magnetic Spline tool, prebuilt geometric shapes and more.

Mocha Pro 2019
If you loved the previous version of Mocha, you are really going to love Mocha Pro 2019. Not only do you get the Magnetic Lasso, pre-built geometric shapes, the Essentials interface and high-resolution display support, but BorisFX has rewritten the Remove Module code to use GPU video hardware. This increases render speeds about four to five times. In addition, there is no longer a separate Mocha VR software suite. All of the VR tools are included inside of Mocha Pro 2019.

If you are unfamiliar with what Mocha is, then I have a treat for you. Mocha is a standalone planar tracking app as well as a native plugin that works with Media Composer, Premiere and After Effects, or through OFX in Blackmagic’s Fusion, Foundry’s Nuke, Vegas Pro and Hitfilm.

Mocha tracking

In addition (and unofficially) it will work with Blackmagic DaVinci Resolve by way of importing the Mocha masks through Fusion. While I prefer to use After Effects for my work, importing Mocha masks is relatively painless. You can watch colorist Dan Harvey run through the process of importing Mocha masks to Resolve through Fusion, here.

But really, Mocha is a planar tracker, which means it tracks multiple points in a defined area that works best in flat surfaces or at least segmented surfaces, like the side of a face, ear, nose, mouth and forehead tracked separately instead of all at once. From blurs to mattes, Mocha tracks objects like glue and can be a great asset for an online editor or colorist.

If you have read any of my plugin reviews you probably are sick of me spouting off about Mocha, saying how it is probably the best plugin ever made. But really, it is amazing — especially when incorporated with plugins like Continuum and Sapphire. Also, thanks to the latest Media Composer with Symphony option you can incorporate the new Color Correction shapes with Mocha Pro to increase the effectiveness of your secondary color corrections.

Mocha Pro Remove module

So how fast is Mocha Pro 2019’s Remove Module these days? Well, it used to be a very slow process, taking lots of time to calculate an object’s removal. With the latest Mocha Pro 2019 release, including improved GPU support, the render time has been cut down tremendously. In my estimation, I would say three to four times the speed (that’s on the safe side). In Mocha Pro 2019 removal jobs that take under 30 seconds would have taken four to five minutes in previous versions. It’s quite a big improvement in render times.

There are a few changes in the new Mocha Pro, including interface changes and some amazing tool additions. There is a new drop-down tab that offers different workflow views once you are inside of Mocha: Essentials, Classic, Big Picture and Roto. I really wish the Essentials view was out when I first started using Mocha, because it gives you the basic tools you need to get a roto job done and nothing more.

For instance, just giving access to the track motion objects (Translation, Scale, Rotate, Skew and Perspective) with big shiny buttons helps to eliminate my need to watch YouTube videos on how to navigate the Mocha interface. However, if like me you are more than just a beginner, the Classic interface is still available and one I reach for most often — it’s literally the old interface. Big Screen hides the tools and gives you the most screen real estate for your roto work. My favorite after Classic is Roto. The Roto interface shows just the project window and the classic top toolbar. It’s the best of both worlds.

Mocha Pro 2019 Essentials Interface

Beyond the interface changes are some additional tools that will speed up any roto work. This has been one of the longest running user requests. I imagine the most requested feature that BorisFX gets for Mocha is the addition of basic shapes, such as rectangles and circles. In my work, I am often drawing rectangles around license plates or circles around faces with X-splines, so why not eliminate a few clicks and have that done already? Answering my need, Mocha now has elliptical and rectangular shapes ready to go in both X-splines and B-splines with one click.

I use Continuum and Mocha hand in hand. Inside of Media Composer I will use tools like Gaussian Blur or Remover, which typically need tracking and roto shapes created. Once I apply the Continuum effect, I launch Mocha from the Effect Editor and bam, I am inside Mocha. From here I track the objects I want to affect, as well as any objects I don’t want to affect (think of it like an erase track).

Summing Up
I can save tons of time and also improve the effectiveness of my work exponentially when working in Continuum 2019 and Mocha Pro 2019. It’s amazing how much more intuitive Mocha is to track with instead of the built-in Media Composer and Symphony trackers.

In the end, I can’t say enough great things about Continuum and especially Mocha Pro. Mocha saves me tons of time in my VFX and image restoration work. From removing camera people behind the main cast in the wilderness to blurring faces and license plates, using Mocha in tandem with Continuum is a match made in post production heaven.

Rendering in Continuum and Mocha Pro 2019 is a lot faster than previous versions, really giving me a leg up on efficiency. Time is money right?! On top of that, using Mocha Pro’s magic Object removal and Modules takes my image restoration work to the next level, separating me from other online editors who use standard paint and tracking tools.

In Continuum, Primatte Studio gives me the leg up on greenscreen keys with its exceptional ability to auto analyze a scene and perform 80% of the keying work before I dial-in the details. Whenever anyone asks me what tools I couldn’t live without, I without a doubt always say Mocha.
If you want a real Mocha Pro education you need to watch all of Mary Poplin’s tutorials. You can find them on YouTube. Check out this one on how to track and replace a logo using Mocha Pro 2019 in Adobe After Effects. You can also find great videos at Borisfx.com.

Mocha point parameter tracking

I always feel like there are tons of tools inside of the Mocha Pro toolset that go unused simply because I don’t know about them. One I recently learned about in a Surfaced Studio tutorial was the Quick Stabilize function. It essentially stabilizes the video around the object you are tracking allowing you to more easily rotoscope your object with it sitting still instead of moving all over the screen. It’s an amazing feature that I just didn’t know about.

As I was finishing up this review I saw that Boris FX came out with a training series, which I will be checking out. One thing I always wanted was a top-down set of tutorials like the ones on Mocha’s YouTube page but organized and sent along with practical footage to practice with.

You can check out Curious Turtle’s “More Than The Essentials: Mocha in After Effects” on their website where I found more Mocha training. There is even a great search parameter called Getting Started on BorisFX.com. Definitely check them out. You can never learn enough Mocha!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.


Behind the Title: Left Field Labs ECD Yann Caloghiris

NAME: Yann Caloghiris

COMPANY: Left Field Labs (@LeftFieldLabs)

CAN YOU DESCRIBE YOUR COMPANY?
Left Field Labs is a Venice-California-based creative agency dedicated to applying creativity to emerging technologies. We create experiences at the intersection of strategy, design and code for our clients, who include Google, Uber, Discovery and Estée Lauder.

But it’s how we go about our business that has shaped who we have become. Over the past 10 years, we have consciously moved away from the traditional agency model and have grown by deepening our expertise, sourcing exceptional talent and, most importantly, fostering a “lab-like” creative culture of collaboration and experimentation.

WHAT’S YOUR JOB TITLE?
Executive Creative Director

WHAT DOES THAT ENTAIL?
My role is to drive the creative vision across our client accounts, as well as our own ventures. In practice, that can mean anything from providing insights for ongoing work to proposing creative strategies to running ideation workshops. Ultimately, it’s whatever it takes to help the team flourish and push the envelope of our creative work.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Probably that I learn more now than I did at the beginning of my career. When I started, I imagined that the executive CD roles were occupied by seasoned industry veterans, who had seen and done it all, and would provide tried and tested direction.

Today, I think that cliché is out of touch with what’s required from agency culture and where the industry is going. Sure, some aspects of the role remain unchanged — such as being a supportive team lead or appreciating the value of great copy — but the pace of change is such that the role often requires both the ability to leverage past experience and accept that sometimes a new paradigm is emerging and assumptions need to be adjusted.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with the team, and the excitement that comes from workshopping the big ideas that will anchor the experiences we create.

WHAT’S YOUR LEAST FAVORITE?
The administrative parts of a creative business are not always the most fulfilling. Thankfully, tasks like timesheeting, expense reporting and invoicing are becoming less exhaustive thanks to better predictive tools and machine learning.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
The early hours of the morning, usually when inspiration strikes — when we haven’t had to deal with the unexpected day-to-day challenges that come with managing a busy design studio.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d probably be somewhere at the cross-section between an artist, like my mum was, and an engineer like my dad. There is nothing more satisfying than to apply art to an engineering challenge or vice versa.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I went to school in France, and there wasn’t much room for anything other than school and homework. When I got my Baccalaureate, I decided that from that point onward that whatever I did, it would be fun, deeply engaging and at a place where being creative was an asset.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We recently partnered with ad agency RK Venture to craft a VR experience for the New Mexico Department of Transportation’s ongoing ENDWI campaign, which immerses viewers into a real-life drunk-driving scenario.

ENDWI

To best communicate and tell the human side of this story, we turned to rapid breakthroughs within volumetric capture and 3D scanning. Working with Microsoft’s Mixed Reality Capture Studio, we were able to bring every detail of an actor’s performance to life with volumetric performance capture in a way that previous techniques could not.

Bringing a real actor’s performance into a virtual experience is a game changer because of the emotional connection it creates. For ENDWI, the combination of rich immersion with compelling non-linear storytelling proved to affect the participants at a visceral level — with the goal of changing behavior further down the road.

Throughout this past year, we partnered with the VMware Cloud Marketing Team to create a one-of-a-kind immersive booth experience for VMworld Las Vegas 2018 and Barcelona 2018 called Cloud City. VMware’s cloud offering needed a distinct presence to foster a deeper understanding and greater connectivity between brand, product and customers stepping into the cloud.

Cloud City

Our solution was Cloud City, a destination merging future-forward architecture, light, texture, sound and interactions with VMware Cloud experts to give consumers a window into how the cloud, and more specifically how VMware Cloud, can be an essential solution for them. VMworld is the brand’s penultimate engagement where hands-on learning helped showcase its cloud offerings. Cloud City garnered 4000-plus demos, which led to a 20% lead conversion in 10 days.

Finally, for Google, we designed and built a platform for the hosting of online events anywhere in the world: Google Gather. For its first release, teams across Google, including Android, Cloud and Education, used Google Gather to reach and convert potential customers across the globe. With hundreds of events to date, the platform now reaches enterprise decision-makers at massive scale, spanning far beyond what has been possible with traditional event marketing, management and hosting.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Recently, a friend and I shot and edited a fun video homage to the original technology boom-town: Detroit, Michigan. It features two cultural icons from the region, an original big block ‘60s muscle car and some gritty electro beats. My four-year-old son thinks it’s the coolest thing he’s ever seen. It’s going to be hard for me to top that.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Human flight, the Internet and our baby monitor!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram, Twitter, Medium and LinkedIn.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Where to start?! Music has always played an important part of my creative process, and the joy I derive from what we do. I have day-long playlists curated around what I’m trying to achieve during that time. Being able to influence how I feel when working on a brief is essential — it helps set me in the right mindset.

Sometimes, it might be film scores when working on visuals, jazz to design a workshop schedule or techno to dial-up productivity when doing expenses.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Spend time with my kids. They remind me that there is a simple and unpretentious way to look at life.


Efilm’s Natasha Leonnet: Grading Spider-Man: Into the Spider-Verse

By Randi Altman

Sony Pictures’ Spider-Man: Into the Spider-Verse is not your typical Spider-Man film… in so many ways. The most obvious is the movie’s look, which was designed to make the viewer feel they are walking inside a comic book. This tale, which blends CGI with 2D hand-drawn animation and comic book textures, focuses on a Brooklyn teen who is bitten by a radioactive spider on the subway and soon develops special powers.

Natasha Leonnet

When he meets Peter Parker, he realizes he’s not alone in the Spider-Verse. It was co-directed by Peter Ramsey, Robert Persichetti Jr. and Rodney Rothman and produced by Phil Lord and Chris Miller, the pair behind 21 Jump Street and The Lego Movie.

Efilm senior colorist Natasha Leonnet provided the color finish for the film, which was nominated for an Oscar in the Best Animated Feature category. We reached out to find out more.

How early were you brought on the film?
I had worked on Angry Birds with visual effects supervisor Danny Dimian, which is how I was brought onto the film. It was a few months before we started color correction. Also, there was no LUT for the film. They used the ACES workflow, developed by The Academy and Efilm’s VP of technology, Joachim “JZ” Zell.

Can you talk about the kind of look they were after and what it took to achieve that look?
They wanted to achieve a comic book look. You look at the edges of characters or objects in comic books and you actually see aspects of the color printing from the beginning of comic book printing — the CMYK dyes wouldn’t all be the same line — it creates a layered look along with the comic book dots and expression lines on faces, as if you’re drawing a comic book.

For example, if someone gets hurt you put actual slashes on their face. For me it was a huge education about the comic book art form. Justin Thompson, the art director, in particular is so knowledgeable about the history of comic books. I was so inspired I just bought my first comic book. Also, with the overall look, the light is painting color everywhere the way it does in life.

You worked closely Justin, VFX supervisor Danny Dimian and art director Dean Gordon What was that process like?
They were incredible. It was usually a group of us working together during the color sessions — a real exercise in collaboration. They were all so open to each other’s opinions and constantly discussing every change in order to make certain that the change best served the film. There was no idea that was more important than another idea. Everyone listened to each other’s ideas.

Had you worked on an animated film previously? What are the challenges and benefits of working with animation?
I’ve been lucky enough to do all of Blue Sky Studios’ color finishes so far, except for the first Ice Age. One of the special aspects of working on animated films is that you’re often working with people who are fine-art painters. As a result, they bring in a different background and way of analyzing the images. That’s really special. They often focus on the interplay of different hues.

In the case of Spider-Man: Into the Spider-Verse, they also wanted to bring a certain naturalism to the color experience. With this particular film, they made very bold choices with their use of color finishing. They used an aspect of color correctors that are used to shift all of the hues and colors; that’s usually reserved for music videos. They completely embraced it. They were basically using color finishing to augment the story and refine their hues, especially time of day and progression of the day or night. They used it as their extra lighting step.

Can you talk about your typical process? Did that differ because of the animated content?
My process actually does not differ when I’m color finishing animated content. Continuity is always at the forefront, even in animation. I use the color corrector as a creative tool on every project.

How would you describe the look of the film?
The film embodies the vivid and magical colors that I always observed in childhood but never saw reflected on the screen. The film is very color intense. It’s as if you’re stepping inside a comic book illustrator’s mind. It’s a mind-meld with how they’re imagining things.

What system did you use for color and why?
I used Resolve on this project, as it was the system that the clients were most familiar with.

Any favorite parts of the process?
My favorite part is from start to finish. It was all magical on this film.

What was your path to being a colorist?
My parents loved going to the cinema. They didn’t believe in babysitters, so they took me to everything. They were big fans of the French new wave movement and films that offered unconventional ways of depicting the human experience. As a result, I got to see some pretty unusual films. I got to see how passionate my parents were about these films and their stories and unusual way of telling them, and it sparked something in me. I think I can give my parents full credit for my career.

I studied non-narrative experimental filmmaking in college even though ultimately my real passion was narrative film. I started as a runner in the Czech Republic, which is where I’d made my thesis film for my BA degree. From there I worked my way up and met a colorist (Biggi Klier) who really inspired me. I was hooked and lucky enough to study with her and another mentor of mine in Munich, Germany.

How do you prefer a director and DP describe a look?
Every single person I’ve worked with works differently, and that’s what makes it so fun and exciting, but also challenging. Every person communicates about color differently and our vocabulary for color is so limited, therein lies the challenge.

Where do you find inspiration?
From both the natural world and the world of films. I live in a place that faces east, and I get up every morning to watch the sunrise and the color palette is always different. It’s beautiful and inspiring. The winter palettes in particular are gorgeous, with reds and oranges that don’t exist in summer sunrises.

Avengers: Infinity War leads VES Awards with six noms

The Visual Effects Society (VES) has announced the nominees for the 17th Annual VES Awards, which recognize outstanding visual effects artistry and innovation in film, animation, television, commercials and video games as well as the VFX supervisors, VFX producers and hands-on artists who bring this work to life.

Avengers: Infinity War garners the most feature film nomination with six. Incredibles 2 is the top animated film contender with five nominations and Lost in Space leads the broadcast field with six nominations.

Nominees in 24 categories were selected by VES members via events hosted by 11 of the organizations Sections, including Australia, the Bay Area, Germany, London, Los Angeles, Montreal, New York, New Zealand, Toronto, Vancouver and Washington.

The VES Awards will be held on February 5th at the Beverly Hilton Hotel. As previously announced, the VES Visionary Award will be presented to writer/director/producer and co-creator of Westworld Jonathan Nolan. The VES Award for Creative Excellence will be given to award-winning creators/executive producers/writers/directors David Benioff and D.B. Weiss of Game of Thrones fame. Actor-comedian-author Patton Oswalt will once again host the VES Awards.

Here are the nominees:

Outstanding Visual Effects in a Photoreal Feature

Avengers: Infinity War

Daniel DeLeeuw

Jen Underdahl

Kelly Port

Matt Aitken

Daniel Sudick

 

Christopher Robin

Christopher Robin

Chris Lawrence

Steve Gaub

Michael Eames

Glenn Melenhorst

Chris Corbould

 

Ready Player One

Roger Guyett

Jennifer Meislohn

David Shirk

Matthew Butler

Neil Corbould

 

Solo: A Star Wars Story

Rob Bredow

Erin Dusseault

Matt Shumway

Patrick Tubach

Dominic Tuohy

 

Welcome to Marwen

Kevin Baillie

Sandra Scott

Seth Hill

Marc Chu

James Paradis

 

Outstanding Supporting Visual Effects in a Photoreal Feature 

12 Strong

Roger Nall

Robert Weaver

Mike Meinardus

 

Bird Box

Marcus Taormina

David Robinson

Mark Bakowski

Sophie Dawes

Mike Meinardus

 

Bohemian Rhapsody

Paul Norris

Tim Field

May Leung

Andrew Simmonds

 

First Man

Paul Lambert

Kevin Elam

Tristan Myles

Ian Hunter

JD Schwalm

 

Outlaw King

Alex Bicknell

Dan Bethell

Greg O’Connor

Stefano Pepin

 

Outstanding Visual Effects in an Animated Feature

Dr. Seuss’ The Grinch

Pierre Leduc

Janet Healy

Bruno Chauffard

Milo Riccarand

 

Incredibles 2

Brad Bird

John Walker

Rick Sayre

Bill Watral

 

Isle of Dogs

Mark Waring

Jeremy Dawson

Tim Ledbury

Lev Kolobov

 

Ralph Breaks the Internet

Scott Kersavage

Bradford Simonsen

Ernest J. Petti

Cory Loftis

 

Spider-Man: Into the Spider-Verse

Joshua Beveridge

Christian Hejnal

Danny Dimian

Bret St. Clair

 

Outstanding Visual Effects in a Photoreal Episode

Altered Carbon; Out of the Past

Everett Burrell

Tony Meagher

Steve Moncur

Christine Lemon

Joel Whist

 

Krypton; The Phantom Zone

Ian Markiewicz

Jennifer Wessner

Niklas Jacobson

Martin Pelletier

 

LOST IN SPACE

Lost in Space; Danger, Will Robinson

Jabbar Raisani

Terron Pratt

Niklas Jacobson

Joao Sita

 

The Terror; Go For Broke

Frank Petzold

Lenka Líkařová

Viktor Muller

Pedro Sabrosa

 

Westworld; The Passenger

Jay Worth

Elizabeth Castro

Bruce Branit

Joe Wehmeyer

Michael Lantieri

 

Outstanding Supporting Visual Effects in a Photoreal Episode

Tom Clancy’s Jack Ryan; Pilot

Erik Henry

Matt Robken

Bobo Skipper

Deak Ferrand

Pau Costa

 

The Alienist; The Boy on the Bridge

Kent Houston

Wendy Garfinkle

Steve Murgatroyd

Drew Jones

Paul Stephenson

 

The Deuce; We’re All Beasts

Jim Rider

Steven Weigle

John Bair

Aaron Raff

 

The First; Near and Far

Karen Goulekas

Eddie Bonin

Roland Langschwert

Bryan Godwin

Matthew James Kutcher

 

The Handmaid’s Tale; June

Brendan Taylor

Stephen Lebed

Winston Lee

Leo Bovell

 

Outstanding Visual Effects in a Realtime Project

Age of Sail

John Kahrs

Kevin Dart

Cassidy Curtis

Theresa Latzko

 

Cycles

Jeff Gipson

Nicholas Russell

Lauren Nicole Brown

Jorge E. Ruiz Cano

 

Dr Grordbort’s Invaders

Greg Broadmore

Mhairead Connor

Steve Lambert

Simon Baker

 

God of War

Maximilian Vaughn Ancar

Corey Teblum

Kevin Huynh

Paolo Surricchio

 

Marvel’s Spider-Man

Grant Hollis

Daniel Wang

Seth Faske

Abdul Bezrati

 

Outstanding Visual Effects in a Commercial 

Beyond Good & Evil 2

Maxime Luere

Leon Berelle

Remi Kozyra

Dominique Boidin

 

John Lewis; The Boy and the Piano

Kamen Markov

Philip Whalley

Anthony Bloor

Andy Steele

 

McDonald’s; #ReindeerReady

Ben Cronin

Josh King

Gez Wright

Suzanne Jandu

 

U.S. Marine Corps; A Nation’s Call

Steve Drew

Nick Fraser

Murray Butler

Greg White

Dave Peterson

 

Volkswagen; Born Confident

Carsten Keller

Anandi Peiris

Dan Sanders

Fabian Frank

 

Outstanding Visual Effects in a Special Venue Project

Beautiful Hunan; Flight of the Phoenix

R. Rajeev

Suhit Saha

Arish Fyzee

Unmesh Nimbalkar

 

Childish Gambino’s Pharos

Keith Miller

Alejandro Crawford

Thelvin Cabezas

Jeremy Thompson

 

DreamWorks Theatre Presents Kung Fu Panda

Marc Scott

Doug Cooper

Michael Losure

Alex Timchenko

 

Osheaga Music and Arts Festival

Andre Montambeault

Marie-Josee Paradis

Alyson Lamontagne

David Bishop Noriega

 

Pearl Quest

Eugénie von Tunzelmann

Liz Oliver

Ian Spendloff

Ross Burgess

 

Outstanding Animated Character in a Photoreal Feature

Avengers: Infinity War; Thanos

Jan Philip Cramer

Darren Hendler

Paul Story

Sidney Kombo-Kintombo

 

Christopher Robin; Tigger

Arslan Elver

Kayn Garcia

Laurent Laban

Mariano Mendiburu

 

Jurassic World: Fallen Kingdom; Indoraptor

Jance Rubinchik

Ted Lister

Yannick Gillain

Keith Ribbons

 

Ready Player One; Art3mis

David Shirk

Brian Cantwell

Jung-Seung Hong

Kim Ooi

 

Outstanding Animated Character in an Animated Feature

Dr. Seuss’ The Grinch; The Grinch

David Galante

Francois Boudaille

Olivier Luffin

Yarrow Cheney

 

Incredibles 2; Helen Parr

Michal Makarewicz

Ben Porter

Edgar Rodriguez

Kevin Singleton

 

Ralph Breaks the Internet; Ralphzilla

Dong Joo Byun

Dave K. Komorowski

Justin Sklar

Le Joyce Tong

 

Spider-Man: Into the Spider-Verse; Miles Morales

Marcos Kang

Chad Belteau

Humberto Rosa

Julie Bernier Gosselin

 

Outstanding Animated Character in an Episode or Realtime Project

Cycles; Rae

Jose Luis Gomez Diaz

Edward Everett Robbins III

Jorge E. Ruiz Cano

Jose Luis -Weecho- Velasquez

 

Lost in Space; Humanoid

Chad Shattuck

Paul Zeke

Julia Flanagan

Andrew McCartney

 

Nightflyers; All That We Have Found; Eris

Peter Giliberti

James Chretien

Ryan Cromie

Cesar Dacol Jr.

 

Spider-Man; Doc Ock

Brian Wyser

Henrique Naspolini

Sophie Brennan

William Salyers

 

Outstanding Animated Character in a Commercial

McDonald’s; Bobbi the Reindeer

Gabriela Ruch Salmeron

Joe Henson

Andrew Butler

Joel Best

 

Overkill’s The Walking Dead; Maya

Jonas Ekman

Goran Milic

Jonas Skoog

Henrik Eklundh

 

Peta; Best Friend; Lucky

Bernd Nalbach

Emanuel Fuchs

Sebastian Plank

Christian Leitner

 

Volkswagen; Born Confident; Bam

David Bryan

Chris Welsby

Fabian Frank

Chloe Dawe

 

Outstanding Created Environment in a Photoreal Feature

Ant-Man and the Wasp; Journey to the Quantum Realm

Florian Witzel

Harsh Mistri

Yuri Serizawa

Can Yuksel

 

Aquaman; Atlantis

Quentin Marmier

Aaron Barr

Jeffrey De Guzman

Ziad Shureih

 

Ready Player One; The Shining, Overlook Hotel

Mert Yamak

Stanley Wong

Joana Garrido

Daniel Gagiu

 

Solo: A Star Wars Story; Vandor Planet

Julian Foddy

Christoph Ammann

Clement Gerard

Pontus Albrecht

 

Outstanding Created Environment in an Animated Feature

Dr. Seuss’ The Grinch; Whoville

Loic Rastout

Ludovic Ramiere

Henri Deruer

Nicolas Brack

 

Incredibles 2; Parr House

Christopher M. Burrows

Philip Metschan

Michael Rutter

Joshua West

 

Ralph Breaks the Internet; Social Media District

Benjamin Min Huang

Jon Kim Krummel II

Gina Warr Lawes

Matthias Lechner

 

Spider-Man; Into the Spider-Verse; Graphic New York City

Terry Park

Bret St. Clair

Kimberly Liptrap

Dave Morehead

 

Outstanding Created Environment in an Episode, Commercial, or Realtime Project

Cycles; The House

Michael R.W. Anderson

Jeff Gipson

Jose Luis Gomez Diaz

Edward Everett Robbins III

 

Lost in Space; Pilot; Impact Area

Philip Engström

Kenny Vähäkari

Jason Martin

Martin Bergquist

 

The Deuce; 42nd St

John Bair

Vance Miller

Jose Marin

Steve Sullivan

 

The Handmaid’s Tale; June; Fenway Park

Patrick Zentis

Kevin McGeagh

Leo Bovell

Zachary Dembinski

 

The Man in the High Castle; Reichsmarschall Ceremony

Casi Blume

Michael Eng

Ben McDougal

Sean Myers

 

Outstanding Virtual Cinematography in a Photoreal Project

Aquaman; Third Act Battle

Claus Pedersen

Mohammad Rastkar

Cedric Lo

Ryan McCoy

 

Echo; Time Displacement

Victor Perez

Tomas Tjernberg

Tomas Wall

Marcus Dineen

 

Jurassic World: Fallen Kingdom; Gyrosphere Escape

Pawl Fulker

Matt Perrin

Oscar Faura

David Vickery

 

Ready Player One; New York Race

Daniele Bigi

Edmund Kolloen

Mathieu Vig

Jean-Baptiste Noyau

 

Welcome to Marwen; Town of Marwen

Kim Miles

Matthew Ward

Ryan Beagan

Marc Chu

 

Outstanding Model in a Photoreal or Animated Project 

Avengers: Infinity War; Nidavellir Forge Megastructure

Chad Roen

Ryan Rogers

Jeff Tetzlaff

Ming Pan

 

Incredibles 2; Underminer Vehicle

Neil Blevins

Philip Metschan

Kevin Singleton

 

Mortal Engines; London

Matthew Sandoval

James Ogle

Nick Keller

Sam Tack

 

Ready Player One; DeLorean DMC-12

Giuseppe Laterza

Kim Lindqvist

Mauro Giacomazzo

William Gallyot

 

Solo: A Star Wars Story; Millennium Falcon

Masa Narita

Steve Walton

David Meny

James Clyne

 

Outstanding Effects Simulations in a Photoreal Feature

Avengers: Infinity War; Titan

Gerardo Aguilera

Ashraf Ghoniem

Vasilis Pazionis

Hartwell Durfor

 

Avengers: Infinity War; Wakanda

Florian Witzel

Adam Lee

Miguel Perez Senent

Francisco Rodriguez

 

Fantastic Beasts: The Crimes of Grindelwald

Dominik Kirouac

Chloe Ostiguy

Christian Gaumond

 

Venom

Aharon Bourland

Jordan Walsh

Aleksandar Chalyovski

Federico Frassinelli

 

Outstanding Effects Simulations in an Animated Feature

Dr. Seuss’ The Grinch; Snow, Clouds and Smoke

Eric Carme

Nicolas Brice

Milo Riccarand

 

Incredibles 2

Paul Kanyuk

Tiffany Erickson Klohn

Vincent Serritella

Matthew Kiyoshi Wong

 

Ralph Breaks the Internet; Virus Infection & Destruction

Paul Carman

Henrik Fält

Christopher Hendryx

David Hutchins

 

Smallfoot

Henrik Karlsson

Theo Vandernoot

Martin Furness

Dmitriy Kolesnik

 

Spider-Man: Into the Spider-Verse

Ian Farnsworth

Pav Grochola

Simon Corbaux

Brian D. Casper

 

Outstanding Effects Simulations in an Episode, Commercial, or Realtime Project

Altered Carbon

Philipp Kratzer

Daniel Fernandez

Xavier Lestourneaud

Andrea Rosa

 

Lost in Space; Jupiter is Falling

Denys Shchukin

Heribert Raab

Michael Billette

Jaclyn Stauber

 

Lost in Space; The Get Away

Juri Bryan

Will Elsdale

Hugo Medda

Maxime Marline

 

The Man in the High Castle; Statue of Liberty Destruction

Saber Jlassi

Igor Zanic

Nick Chamberlain

Chris Parks

 

Outstanding Compositing in a Photoreal Feature

Avengers: Infinity War; Titan

Sabine Laimer

Tim Walker

Tobias Wiesner

Massimo Pasquetti

 

First Man

Joel Delle-Vergin

Peter Farkas

Miles Lauridsen

Francesco Dell’Anna

 

Jurassic World: Fallen Kingdom

John Galloway

Enrik Pavdeja

David Nolan

Juan Espigares Enriquez

 

Welcome to Marwen

Woei Lee

Saul Galbiati

Max Besner

Thai-Son Doan

 

Outstanding Compositing in a Photoreal Episode

Altered Carbon

Jean-François Leroux

Reece Sanders

Stephen Bennett

Laraib Atta

 

Handmaids Tale; June

Winston Lee

Gwen Zhang

Xi Luo

Kevin Quatman

 

Lost in Space; Impact; Crash Site Rescue

David Wahlberg

Douglas Roshamn

Sofie Ljunggren

Fredrik Lönn

 

Silicon Valley; Artificial Emotional Intelligence; Fiona

Tim Carras

Michael Eng

Shiying Li

Bill Parker

 

Outstanding Compositing in a Photoreal Commercial

Apple; Unlock

Morten Vinther

Michael Gregory

Gustavo Bellon

Rodrigo Jimenez

 

Apple; Welcome Home

Michael Ralla

Steve Drew

Alejandro Villabon

Peter Timberlake

 

Genesis; G90 Facelift

Neil Alford

Jose Caballero

Joseph Dymond

Greg Spencer

 

John Lewis; The Boy and the Piano

Kamen Markov

Pratyush Paruchuri

Kalle Kohlstrom

Daniel Benjamin

 

Outstanding Visual Effects in a Student Project

Chocolate Man

David Bellenbaum

Aleksandra Todorovic

Jörg Schmidt

Martin Boué

 

Proxima-b

Denis Krez

Tina Vest

Elias Kremer

Lukas Löffler

 

Ratatoskr

Meike Müller

Lena-Carolin Lohfink

Anno Schachner

Lisa Schachner

 

Terra Nova

Thomas Battistetti

Mélanie Geley

Mickael Le Mezo

Guillaume Hoarau

VFX studio Electric Theatre Collective adds three to London team

London visual effects studio Electric Theatre Collective has added three to its production team: Elle Lockhart, Polly Durrance and Antonia Vlasto.

Lockhart brings with her extensive CG experience, joining from Touch Surgery where she ran the Johnson & Johnson account. Prior to that she worked at Analog as a VFX producer where she delivered three global campaigns for Nike. At Electric, she will serve as producer on Martini and Toyota.

Vlasto joins Electric working on clients such Mercedes, Tourism Ireland and Tui. She joins from 750MPH where, over a four-year period, she served as producer on Nike, Great Western Railway, VW and Amazon to name but a few.

At Electric, Polly Durrance will serve as producer on H&M, TK Maxx and Carphone Warehouse. She joins from Unit where she helped launched their in-house Design Collective, worked with clients such as Lush, Pepsi and Thatchers Cider. Prior to Unit Polly was at Big Buoy where she produced work for Jaguar Land Rover, giffgaff and Redbull.

Recent projects at the studio, which also has an office in Santa Monica, California, include Tourism Ireland Capture Your Heart and Honda Palindrome.

Main Image: (L-R) Elle Lockhart, Antonia Vlasto and Polly Durrance.

Behind the Title: FuseFX VFX supervisor Marshall Krasser

Over the years, this visual effects veteran has worked with both George Lucas and Steven Spielberg, whose films helped inspire his career path.

NAME: Marshall Krasser

COMPANY: FuseFX 

CAN YOU DESCRIBE YOUR COMPANY?
FuseFX offers visual effects services for episodic television, feature films, commercials and VR productions. Founded in 2006, the company employs over 300 people across three studio locations in LA, NYC and Vancouver

WHAT’S YOUR JOB TITLE?
Visual Effects Supervisor

WHAT DOES THAT ENTAIL?
In general, a VFX supervisor is responsible for leading the creative team that brings the director’s vision to life. The role does vary from show to show depending on whether or not there is an on-set or studio-side VFX supervisor.

Here is a list of responsibilities across the board:
– Read and flag the required VFX shots in the script.
– Work with the producer and team to bid the VFX work.
– Attend the creative meetings and location scouts.
– Work with the studio creative team to determine what they want and what we need to achieve it.
– Be the on-set presence for VFX work — making sure the required data and information we need is shot, gathered and catalogued.
– Work with our in-house team to start developing assets and any pre-production concept art that will be needed.
– Once the VFX work is in post production, the VFX supervisor guides the team of in-house artists and technicians through the shot creation/completion phase, while working with the producer to keep the show within the budgets constraints.
– Keep the client happy!

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
That the job is much more than pointing at the computer screen and making pretty images. Team management is critical. Since you are working with very talented and creative people, it takes a special skill set and understanding. Having worked up through the VFX ranks, it helps you understand the mind set since you have been in their shoes.

HOW LONG HAVE YOU BEEN WORKING IN VFX?
My first job was creating computer graphic images for speaker support presentations on a Genigraphics workstation in 1984. I then transitioned into feature film in 1994.

HOW HAS THE VFX INDUSTRY CHANGED IN THE TIME YOU’VE BEEN WORKING? WHAT’S BEEN GOOD, WHAT’S BEEN BAD?
It’s changed a lot. In the early days at ILM, we were breaking ground by being asked to create imagery that had never been seen before. This involved creating new tools and approaches that had not been previously possible.

Today, VFX has less of the “man behind the curtain” mystique and has become more mainstream and familiar to most. The tools and computer power have evolved so there is less of the “heavy lifting” that was required in the past. This is all good, but the “bad” part is the fact that “tricking” people’s eyes is more difficult these days.

DID A PARTICULAR FILM INSPIRE YOU ALONG THIS PATH IN ENTERTAINMENT?
A couple really focused my attention toward VFX. There is a whole generation that was enthralled with the first Star Wars movie. I will never forget the feeling I had upon first viewing it — it was magical.

The other was E.T., since it was more grounded on Earth and more plausible. I was blessed to be able to work directly with both George Lucas and Steven Spielberg [and the artisans who created the VFX for these films] during the course of my career.

DID YOU GO TO FILM SCHOOL?
I did not. At the time, there was virtually no opportunity to attend a film school, or any school, that taught VFX. I took the route that made the most sense for me at the time — art major. I am a classically trained artist who focused on graphic design and illustration, but I also took computer programming.

On a typical Saturday, I would spend the morning in the computer lab programming and the afternoon on the potter’s wheel throwing pots. Always found that ironic – primitive to modern in the same day!

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with the team and bringing the creative to life.

WHAT’S YOUR LEAST FAVORITE?
Numbers, no one told me there would be math! Re: bidding.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Maybe a fishing or outdoor adventure guide. Something far away from computers and an office.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
– the Vice movie
– the Waco miniseries
–  the Life Sentence TV series
– the Needle in a Timestack film
The 100 TV series

WHAT IS THE PROJECT/S THAT YOU ARE MOST PROUD OF?
A few stand out, in no particular order. Pearl Harbor, Harry Potter, Galaxy Quest, Titanic, War of the Worlds and the last Indiana Jones movie.

WHAT TOOLS DO YOU USE DAY TO DAY?
I would have to say Nuke. I use it for shot and concept work when needed.

WHERE DO YOU FIND INSPIRATION NOW?
Everything around me. I am heavily into photography these days, and am always looking at putting a new spin on ordinary things and capturing the unique.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Head into the great British Columbian outdoors for camping and other outdoor activities.

Behind the Title: Aardman director/designer Gavin Strange

NAME: Gavin Strange

COMPANY: Bristol, England-based Aardman. They also have an office in NYC under the banner Aardman Nathan Love

CAN YOU DESCRIBE HOW YOUR CAREER AT AARDMAN BEGAN?
I can indeed! I started 10 years ago as a freelancer, joining the fledgling Interactive department (or Aardman Online as it was known back then). They needed a digital designer for a six-month project for the UK’s Channel 4.

I was a freelancer in Bristol at the time and I made it my business to be quite vocal on all the online platforms, always updating those platforms and my own website with my latest work — whether that be client work or self-initiated projects. Luckily for me, the creative director of Aardman Online, Dan Efergan, saw my work when he was searching for a designer and got in touch (it was the most exciting email ever, with the subject of “Hello from Aardman!”

The short version of this story is that I got Dan’s email, popped in for a cup of tea and a chat, and 10 years later I’m still here! Ha!

The slightly longer but still truncated version is that after the six-month freelance project was done, the role of senior designer for the online team became open and I gave up the freelance life and, very excitedly, joined the team as an official Aardmanite!

Thing is, I was never shy about sharing with my new colleagues the other work I did. My role in the beginning was primarily digital/graphic design, but in my own time, under the banner of JamFactory (my own artist alter-ego name) I put out all sorts of work that was purely passion projects; films, characters, toys, clothing, art.

Gavin Strange directed this Christmas spot for the luxury brand Fortnum & Mason .

Filmmaking was a huge passion of mine and even at the earliest stages in my career when I first started out (I didn’t go to university so I got my first role as a junior designer when I was 17) I’d always be blending graphic design and film together.

Over those 10 years at Aardman I continued to make films of all kinds and share them with my colleagues. Because of that more opportunities arose to develop my film work within my existing design role. I had the unique advantage of having a lot of brilliant mentors who guided me and helped me with my moving image projects.

Those opportunities continued to grow and happen more frequently. I was doing more and more directing here, finally becoming officially represented by Aardman and added to their roster of directors. It’s a dream come true for me, because, not only do I get to work at the place I’ve admired growing up, but I’ve been mentored and shaped by the very individuals who make this place so special — that’s a real privilege.

What I really love is that my role is so varied — I’m both a director and a senior designer. I float between projects, and I love that variety. Sometimes I’m directing a commercial, sometimes I’m illustrating icons, other times I’m animating motion graphics. To me though, I don’t see a difference — it’s all creating something engaging, beautiful and entertaining — whatever the final format or medium!

So that’s my Aardman story. Ten years in, and I just feel like I’m getting started. I love this place.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE OF DIRECTOR?
Hmm, it’s tricky, as I actually think that most people’s perception of being a director is true: it’s that person’s responsibility to bring the creative vision to life.

Maybe what people don’t know is how flexible the role is, depending on the project. I love smaller projects where I get to board, design and animate, but then I love larger jobs with a whole crew of people. It’s always hands-on, but in many different ways.

Perhaps what would surprise a lot of people is that it’s every directors responsibility to clean the toilets at the end of the day. That’s what Aardman has always told me and, of course, I honor that tradition. I mean, I haven’t actually ever seen anyone else do it, but that’s because everyone else just gets on with it quietly, right? Right!?

WHAT’S YOUR FAVORITE PART OF THE JOB?
Oh man, can I say everything!? I really, really enjoy the job as a whole — having that creative vision, working with yourself, your colleagues and your clients to bring it to life. Adapting and adjusting to changes and ensuring something great pops out the other end.

I really, genuinely, get a thrill seeing something on screen. I love concentrating on every single frame — it’s a win-win situation. You get to make a lovely image each frame, but when you stitch them together and play them really fast one after another, then you get a lovely movie — how great is that?

In short, I really love the sum total of the job. All those different exciting elements that all come together for the finished piece.

WHAT’S YOUR LEAST FAVORITE?
I pride myself on being an optimist and being a right positive pain in the bum, so I don’t know if there’s any part I don’t enjoy — if anything is tricky I try and see it as a challenge and something that will only improve my skillset.

I know that sounds super annoying doesn’t it? I know that can seem all floaty and idealistic, but I pride myself on being a “realistic’ idealist” — recognizing the reality of a tricky situation, but seeing it through an idealistic lens.

If I’m being honest, then probably that really early stage is my least favorite — when the project is properly kicking off and you’ve got that gap between what the treatment/script/vision says it will be and the huge gulf in between that and the finished thing. That’s also the most exciting too, the not knowing how it will turn out. It’s terrifying and thrilling, in all good measure. It surprises me every single time, but I think that panic is an essential part of any creative process.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
In an alternate world, I’d be a photographer, traveling the world, documenting everything I see, living the nomadic life. But that’s still a creative role, and I still class it as the same job, really. I love my graphic design roots too — print and digital design — but, again, I see it as all the same role really.

So that means, if I didn’t have this job, I’d be roaming the lands, offering to draw/paint/film/make for anyone that wanted it! (Is that a mercenary? Is there such a thing as a visual mercenary? I don’t really have the physique for that I don’t think.)

WHY DID YOU CHOOSE THIS PROFESSION?
This profession chose me. I’m just kidding, that’s ridiculous, I just always wanted to say that.

I think, like most folks, I fell into it in a series of natural choices. Art, design, graphics and games always stole my attention as a kid, and I just followed the natural path into that, which turned into my career. I’m lucky enough that I didn’t feel the need to single out any one passion, and kept them all bubbling along even as I made my career choices as designer to director. I still did and still do indulge my passion for all types of mediums in my own time.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I’m not sure. I wasn’t particularly driven or focused as a kid. I knew I loved design and art, but I didn’t know of the many, many different roles out there that existed. I like that though, I see that as a positive, and also as an achievable way to progress through a career path. I speak to a lot of students and young professionals and I think it can be so overwhelming to plot a big ‘X’ on a career map and then feel all confused about how to get there. I’m an advocate of taking it one step at a time, and make more manageable advances forward — as things always get in the way and change anyway.

I love the idea of a meandering, surprising path. Who knows where it will lead!? I think as long as your aim is to make great work, then you’ll surprise yourself where you end up.

WHAT WAS IT ABOUT DIRECTING THAT ATTRACTED YOU?
I’ve always obsessed over films, and obsessed over the creation of them. I’ll watch a behind-the-scenes on any film or bit of moving image. I just love the fact that the role is to bring something to life — it’s to oversee and create something from nothing, ensuring every frame is right. The way it makes you feel, the way it looks, the way it sounds.

It’s just such an exciting role. There’s a lot of unknowns too, on every project. I think that’s where the good stuff lies. Trusting in the process and moving forwards, embracing it.

HOW DOES DIRECTING FOR ANIMATION DIFFER FROM DIRECTING FOR LIVE ACTION — OR DOES IT?
Technically it’s different — with animation your choices are pretty much made all up front, with the storyboards and animatic as your guides, and then they’re brought to life with animation. Whereas, for me, the excitement in live action is not really knowing what you’ll get until there’s a lens on it. And even then, it can come together in a totally new way in the edit.

I don’t try to differentiate myself as an “animation director” or “live-action” director. They’re just different tools for the job. Whatever tells the best story and connects with audiences!

HOW DO YOU PICK THE PEOPLE YOU WORK WITH ON A PARTICULAR PROJECT?
Their skillset is paramount, but equally as important is their passion and their kindness. There are so many great people out there, but I think it’s so important to work with people who are great and kind. Too many people get a free pass for being brilliant and feel that celebration of their work means it’s okay to mistreat others. It’s not okay… ever. I’m lucky that Aardman is a place full of excited, passionate and engaged folk who are a pleasure to work with, because you can tell they love what they do.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’ve been lucky enough to work on a real variety of projects recently. I directed an ident for the rebrand of BBC2, a celebratory Christmas spot for the luxury brand Fortnum & Mason and an autobiographical motion graphics short film about Maya Angelou for BBC Radio 4.

Maya Angelou short film for BBC Radio 4

I love the variety of them; just those three projects alone were so different. The BBC2 ident was live-action in-camera effects with a great crew of people, whereas the Maya Angelou film was just me on design, direction and animation. I love hopping between projects of all types and sizes!

I’m working on development of a stop-frame short at the moment, which is all I can say for now, but just the process alone going from idea to a scribble in a notebook to a script is so exciting. Who knows what 2019 holds!?

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Oh man, that’s a tough one! A few years back I co-directed a title sequence for a creative festival called OFFF, which happens every year in Barcelona. I worked with Aardman legend Merlin Crossingham to bring this thing to life, and it’s a proper celebration of what we both love — it ended up being what we lovingly refer to as our “stop-frame live-action motion-graphics rap-video title-sequence.” It really was all those things.

That was really special as not only did we have a great crew, I got to work with one of my favorite rappers, P.O.S., who kindly provided the beats and the raps for the film.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT
– My iPhone. It’s my music player, Internet checker, email giver, tweet maker, picture capturer.
– My Leica M6 35mm camera. It’s my absolute pride and joy. I love the images it makes.
– My Screens. At work I have a 27-inch iMac and then two 25-inch monitors on either side. I just love screens. If I could have more, I would!

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I genuinely love what I do, so I rarely feel like I “need to get away from it all.” But I do enjoy life outside of work. I’m a drummer and that really helps with any and all stress really. Even just practicing on a practice pad is cathartic, but nothing compares to smashing away on a real kit.

I like to run, and I sometimes do a street dance class, which is both great fun and excruciatingly frustrating because I’m not very good.

I’m a big gamer, even though I don’t have much time for it anymore. A blast on the PS4 is a treat. In fact, after this I’m going to have a little session on God of War before bedtime.

I love hanging with my family. My wife Jane, our young son Sullivan and our dog Peggy. Just hanging out, being a dad and being a husband is the best for de-stressing. Unless Sullivan gets up at 3am, then I change my answer back to the PS4.

I’m kidding, I love my family, I wouldn’t be anything or be anywhere without them.

Foundry Nuke 11.3’s performance, collaboration updates

Foundry has launched Nuke 11.3, introducing new features and updates to the company’s family of compositing and review tools. The release is the fourth update to the Nuke 11 Series and is designed to improve the user experience and to speed up heavy processing tasks for pipelines and individual users.

Nuke 11.3 lands with major enhancements to its Live Groups feature. It introduces new functionality along with corresponding Python callbacks and UI notifications that will allow for greater collaboration and offer more control. These updates make Live Groups easier for larger pipelines to integrate and give artists more visibility over the state of the Live Group and flexibility when using user knobs to override values within a Live Group.

The particle system in NukeX has been optimized to produce particle simulations up to six times faster than previous versions of the software, and up to four times faster for playback, allowing for faster iteration when setting up particle systems.

New Timeline Multiview support provides an extension to stereo and VR workflows. Artists can now use the same multiple-file stereo workflows that exist in Nuke on the Nuke Studio, Hiero and HieroPlayer timeline. The updated export structure can also be used to create multiple-view Nuke scripts from the timeline in Nuke Studio and Hiero.

Support for full-resolution stereo on monitor out makes review sessions even easier, and a new export preset helps with rendering of stereo projects.

New UI indications for changes in bounding box size and channel count help artists troubleshoot their scripts. A visual indication identifies nodes that increase bounding box size to be greater than the image, helping artists to identify the state of the bounding box at a glance. Channel count is now displayed in the status bar, and a warning is triggered when the 1024-channel limit is exceeded. The appearance and threshold for triggering the bounding box and channel warnings can be set in the preferences.

The selection tool has also been improved in both 2D and 3D views, and an updated marquee and new lasso tool make selecting shapes and points even easier.

Nuke 11.3 is available for purchase — alongside full release details — on Foundry’s website and via accredited resellers.

Making an animated series with Adobe Character Animator

By Mike McCarthy

In a departure from my normal film production technology focus, I have also been working on an animated web series called Grounds of Freedom. Over the past year I have been directing the effort and working with a team of people across the country who are helping in various ways. After a year of meetings, experimentation and work we finally started releasing finished episodes on YouTube.

The show takes place in Grounds of Freedom, a coffee shop where a variety of animated mini-figures gather to discuss freedom and its application to present-day cultural issues and events. The show is created with a workflow that weaves through a variety of Adobe Creative Cloud apps. Back in October I presented our workflow during Adobe Max in LA, and I wanted to share it with postPerspective’s readers as well.

When we first started planning for the series, we considered using live action. Ultimately, after being inspired by the preview releases of Adobe Character Animator, I decided to pursue a new digital approach to brick filming (a film made using Legos), which is traditionally accomplished through stop-motion animation. Once everyone else realized the simpler workflow possibilities and increased level of creative control offered by that new animation process, they were excited to pioneer this new approach. Animation gives us more control and flexibility over the message and dialog, lowers production costs and eases collaboration over long distances, as there is no “source footage” to share.

Creating the Characters
The biggest challenge to using Character Animator is creating digital puppets, which are deeply layered Photoshop PSDs with very precise layer naming and stacking. There are ways to generate the underlying source imagery in 3D animation programs, but I wanted the realism and authenticity of sourcing from actual photographs of the models and figures. So we took lots of 5K macro shots of our sets and characters in various positions with our Canon 60D and 70D DSLRs and cut out hundreds of layers of content in Photoshop to create our characters and all of their various possible body positions. The only thing that was synthetically generated was the various facial expressions digitally painted onto their clean yellow heads, usually to match an existing physical reference character face.

Mike McCarthy shooting stills.

Once we had our source imagery organized into huge PSDs, we rigged those puppets in Character Animator with various triggers, behaviors and controls. The walking was accomplished by cycling through various layers, instead of the default bending of the leg elements. We created arm movement by mapping each arm position to a MIDI key. We controlled facial expressions and head movement via webcam, and the mouth positions were calculated by the program based on the accompanying audio dialog.

Animating Digital Puppets
The puppets had to be finished and fully functional before we could start animating on the digital stages we had created. We had been writing the scripts during that time, parallel to generating the puppet art, so we were ready to record the dialog by the time the puppets were finished. We initially attempted to record live in Character Animator while capturing the animation motions as well, but we didn’t have the level of audio editing functionality we needed available to us in Character Animator. So during that first session, we switched over to Adobe Audition, and planned to animate as a separate process, once the audio was edited.

That whole idea of live capturing audio and facial animation data is laughable now, looking back, since we usually spend a week editing the dialog before we do any animating. We edited each character audio on a separate track and exported those separate tracks to Character Animator. We computed lipsync for each puppet based on their dedicated dialog track and usually exported immediately. This provided a draft visual that allowed us to continue editing the dialog within Premiere Pro. Having a visual reference makes a big difference when trying to determine how a conversation will feel, so that was an important step — even though we had to throw away our previous work in Character Animator once we made significant edit changes that altered sync.

We repeated the process once we had a more final edit. We carried on from there in Character Animator, recording arm and leg motions with the MIDI keyboard in realtime for each character. Once those trigger layers had been cleaned up and refined, we recorded the facial expressions, head positions and eye gaze with a single pass on the webcam. Every re-record to alter a particular section adds a layer to the already complicated timeline, so we limited that as much as possible, usually re-recording instead of making quick fixes unless we were nearly finished.

Compositing the Characters Together
Once we had fully animated scenes in Character Animator, we would turn off the background elements, and isolate each character layer to be exported in Media Encoder via dynamic link. I did a lot of testing before settling on JPEG2000 MXF as the format of choice. I wanted a highly compressed file, but need alpha channel support, and that was the best option available. Each of those renders became a character layer, which was composited into our stage layers in After Effects. We could have dynamically linked the characters directly into AE, but with that many layers that would decrease performance for the interactive part of the compositing work. We added shadows and reflections in AE, as well as various other effects.

Walking was one of the most challenging effects to properly recreate digitally. Our layer cycling in Character Animator resulted in a static figure swinging its legs, but people (and mini figures) have a bounce to their step, and move forward at an uneven rate as they take steps. With some pixel measurement and analysis, I was able to use anchor point keyframes in After Effects to get a repeating movement cycle that made the character appear to be walking on a treadmill.

I then used carefully calculated position keyframes to add the appropriate amount of travel per frame for the feet to stick to the ground, which varies based on the scale as the character moves toward the camera. (In my case the velocity was half the scale value in pixels per seconds.) We then duplicated that layer to create the reflection and shadow of the character as well. That result can then be composited onto various digital stages. In our case, the first two shots of the intro were designed to use the same walk animation with different background images.

All of the character layers were pre-comped, so we only needed to update a single location when a new version of a character was rendered out of Media Encoder, or when we brought in a dynamically linked layer. It would propagate all the necessary comp layers to generate updated reflections and shadows. Once the main compositing work was finished, we usually only needed to make slight changes in each scene between episodes. These scenes were composited at 5K, based on the resolution off the DSLR photos of the sets we had built. These 5K plates could be dynamically linked directly into Premiere Pro, and occasionally used later in the process to ripple slight changes through the workflow. For the interactive work, we got far better editing performance by rendering out flattened files. We started with DNxHR 5K assets, but eventually switched to HEVC files since they were 30x smaller and imperceptibly different in quality with our relatively static animated content.

Editing the Animated Scenes
In Premiere Pro, we had the original audio edit, and usually a draft render of the characters with just their mouths moving. Once we had the plate renders, we placed them each in their own 5K scene sub-sequence and used those sequences as source on our master timeline. This allowed us to easily update the content when new renders were available, or source from dynamically linked layers instead if needed. Our master timeline was 1080p, so with 5K source content we could push in two and a half times the frame size without losing resolution. This allowed us to digitally frame every shot, usually based on one of two rendered angles, and gave us lots of flexibility all the way to the end of the editing process.

Collaborative Benefits of Dynamic Link
While Dynamic Link doesn’t offer the best playback performance without making temp renders, it does have two major benefits in this workflow. It ripples change to the source PSD all the way to the final edit in Premiere just by bringing each app into focus once. (I added a name tag to one character’s PSD during my presentation, and 10 seconds later, it was visible throughout my final edit.) Even more importantly, it allows us to collaborate online without having to share any exported video assets. As long as each member of the team has the source PSD artwork and audio files, all we have to exchange online are the Character Animator project (which is small once the temp files are removed), the .AEP file and the .PrProj file.

This gives any of us the option to render full-quality visual assets anytime we need them, but the work we do on those assets is all contained within the project files that we sync to each other. The coffee shop was built and shot in Idaho, our voice artist was in Florida, our puppets faces were created in LA. I animate and edit in Northern California, the AE compositing was done in LA, and the audio is mixed in New Jersey. We did all of that with nothing but a Dropbox account, using the workflow I have just outlined.

Past that point, it was a fairly traditional finish, in that we edited in music and sound effects, and sent an OMF to Steve, our sound guy at DAWPro Studios http://dawpro.com/photo_gallery.html for the final mix. During that time we added other b-roll visuals or other effects, and once we had the final audio back we rendered the final result to H.264 at 1080p and uploaded to YouTube.


Mike McCarthy is an online editor/workflow consultant with over 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

VFX supervisor Simon Carr joins London’s Territory

Simon Carr has joined visual effects house Territory, bringing with him 20 years of experience as a VFX supervisor. He most recently served that role at London’s Halo, where he built the VFX department from scratch. He has also supervised at Realise Studio, Method Studios, Pixomondo, Digital Domain and others. While Carr will be based in London, he will also support the studio’s San Francisco offices as needed.

Having invested in a Shotgun pipeline, with a bespoke toolkit that integrates Territory’s design-led approach with VFX delivery, Carr’s appointment, according to the studio, signals a strategic approach to expanding the team’s capabilities. “Simon’s experience of all stages of the VFX process from pre-production to final delivery means that our clients and partners can be confident of seamless high-end VFX delivery at every stage of a project” says David Sheldon-Hicks, Territory’s founder and executive creative director.

At Territory, Carr will use his experience building and leading teams of artists, from compositing through to complex environment builds. The studio will also benefit from his experience of building a facility from scratch — establishing pipeline and workflows, recruiting and retaining artists; developing and maintaining relationships with clients and being involved with the pitching and bidding process.

The studio has worked on high-profile film projects, including Blade Runner 2049, Ready Player One, Pacific Rim: Uprising, Ghost in the Shell, The Martian and Guardians of the Galaxy. On the broadcast front, they have worked on the new series based on George R.R. Martin’s novella, Nightflyers, Amazon Prime/Channel 4’s Electric Dreams and National Geographic’s Year Million.

 

Behind the Title: Lobo EP, Europe Loic Francois Marie Dubois

NAME: Loic Francois Marie Dubois

COMPANY: New York- and São Paulo, Brazil-based Lobo

CAN YOU DESCRIBE YOUR COMPANY?
We are a full-service creative studio offering design, live action, stop motion, 3D & 2D, mixed media, print, digital, AR and VR.

Day One spot Sunshine

WHAT’S YOUR JOB TITLE?
Creative executive producer for Europe and formerly head of production. I’m based in Brazil, but work out of the New York office as well.

WHAT DOES THAT ENTAIL?
Managing, hiring creative teams, designers, producers and directors for international productions (USA, Europe, Asia). Also, I have served as the creative executive director for TBWA Paris on the McDonald’s Happy Meal global campaign for the last five years. Now as creative EP for Europe, I am also responsible for streamlining information from pre-production to post production between all production parties for a more efficient and prosperous sales outcome.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The patience and the fun psychological side you need to have to handle all the production peeps, agencies, and clients.

WHAT TOOLS DO YOU USE?
Excel, Word, Showbiz, Keynote, Pages, Adobe Package (Photoshop, Illustrator, After Effects, Premiere, InDesign), Maya, Flame, Nuke and AR/VR technology.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with talented creative people on extraordinary projects with a stunning design and working on great narratives, such as the work we have done for clients including Interface, Autism Speaks, Imaginary Friends, Unicef and Travelers, to name a few.

WHAT’S YOUR LEAST FAVORITE?
Monday morning.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Early afternoon between Europe closing down and the West Coast waking up.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Meditating in Tibet…

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Since I was 13 years old. After shooting and editing a student short film (an Oliver Twist adaptation) with a Bolex 16mm on location in London and Paris, I was hooked.

Promoting Lacta 5Star chocolate bars

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
An animated campaign for the candy company Mondelez’s Lacta 5Star chocolate bars; an animated short film for the Imaginary Friends Society; a powerful animated short on the dangers of dating abuse and domestic violence for nonprofit Day One; a mixed media campaign for Chobani called FlipLand; and a broadcast spot for McDonald’s and Spider-Man.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
My three kids 🙂

It’s really hard to choose one project, as they are all equally different and amazing in their own way, but maybe D&AD Wish You Were Here. It stands out for the number of awards it won and the collective creative production process.

NAME PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The Internet.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Meditation and yoga.

Chaos Group to support Cinema 4D with two rendering products

At the Maxon Supermeet 2018 event, Chaos Group announced its plans to support the Maxon Cinema 4D community with two rendering products: V-Ray for Cinema 4D and Corona for Cinema 4D. Based on V-Ray’s Academy Award-winning raytracing technology, the development of V-Ray for Cinema 4D will be focused on production rendering for high-end visual effects and motion graphics. Corona for Cinema 4D will focus on artist-friendly design visualization.

Chaos Group, which acquired the V-Ray for Cinema 4D product from LAUBlab and will lead development on the product for the first time, will offer current customers free migration to a new update, V-Ray 3.7 for Cinema 4D. All users who move to the new version will receive a free V-Ray for Cinema 4D license, including all product updates, through January 15, 2020. Moving forward, Chaos Group will be providing all support, sales and product development in-house.

In addition to ongoing improvements to V-Ray for Cinema 4D, Chaos Group is also released the Corona for Cinema 4D beta 2 at Supermeet, with the final product to follow in January 2019.

Main Image: Daniel Sian created Robots using V-ray for Cinema 4D.

Promoting a Mickey Mouse watch without Mickey

Imagine creating a spot for a watch that celebrates the 90th anniversary of Mickey Mouse — but you can’t show Mickey Mouse. Already Been Chewed (ABC), a design and motion graphics studio, developed a POV concept that met this challenge and also tied in the design of the actual watch.

Nixon, a California-based premium watch company that is releasing a series of watches around the Mickey Mouse anniversary, called on Already Been Chewed to create the 20-second spot.

“The challenge was that the licensing arrangement that Disney made with Nixon doesn’t allow Mickey’s image to be in the spot,” explains Barton Damer, creative director at Already Been Chewed. “We had to come up with a campaign that promotes the watch and has some sort of call to action that inspires people to want this watch. But, at the same time, what were we going to do for 20 seconds if we couldn’t show Mickey?”

After much consideration, Damer and his team developed a concept to determine if they could push the limits on this restriction. “We came up with a treatment for the video that would be completely point-of-view, and the POV would do a variety of things for us that were working in our favor.”

The solution was to show Mickey’s hands and feet without actually showing the whole character. In another instance, a silhouette of Mickey is seen in the shadows on a wall, sending a clear message to viewers that the spot is an official Disney and Mickey Mouse release and not just something that was inspired by Mickey Mouse.

Targeting the appropriate consumer demographic segment was another key issue. “Mickey Mouse has long been one of the most iconic brands in the history of branding, so we wanted to make sure that it also appealed to the Nixon target audience and not just a Disney consumer,” Damer says. “When you think of Disney, you could brand Mickey for children or you could brand it for adults who still love Mickey Mouse. So, we needed to find a style and vibe that would speak to the Nixon target audience.”

The Already Been Chewed team chose surfing and skateboarding as dominant themes, since 16-to 30-year-olds are the target demographic and also because Disney is a West Coast brand.
Damer comments, “We wanted to make sure we were creating Mickey in a kind of 3D, tangible way, with more of a feature film and 3D feel. We felt that it should have a little bit more of a modern approach. But at the same time, we wanted to mesh it with a touch of the old-school vibe, like 1950s cartoons.”

In that spirit, the team wanted the action to start with Mickey walking from his car and then culminate at the famous Venice Beach basketball courts and skate park. Here’s the end result.

“The challenge, of course, is how to do all this in 15 seconds so that we can show the logos at the front and back and a hero image of the watch. And that’s where it was fun thinking it through and coming up with the flow of the spot and seamless transitions with no camera cuts or anything like that. It was a lot to pull off in such a short time, but I think we really succeeded.”

Already Been Chewed achieved these goals with an assist from Maxon’s Cinema 4D and Adobe After Effects. With Damer as creative lead, here’s the complete cast of characters: head of production Aaron Smock; 3D design was via Thomas King, Barton Damer, Bryan Talkish, Lance Eckert; animation was provided by Bryan Talkish and Lance Eckert; character animation was via Chris Watson; soundtrack was DJ Sean P.

London design, animation studio Golden Wolf sets up shop in NYC

Animation studio Golden Wolf, headquartered in London, has launched its first stateside location in New York City. The expansion comes on the heels of an alliance with animation/VFX/live-action studio Psyop, a minority investor in the company. Golden Wolf now occupies studio space in SoHo adjacent to Psyop and its sister company Blacklist, which formerly represented Golden Wolf stateside and was instrumental to the relationship.

Among the year’s highlights from Golden Wolf are an integrated campaign for Nike FA18 Phantom (client direct), a spot for the adidas x Parley Run for the Oceans initiative (TBWA Amsterdam) in collaboration with Psyop, and Marshmello’s Fly music video for Disney. Golden Wolf also received an Emmy nomination for its main title sequence for Disney’s Ducktales reboot.

Heading up Golden Wolf’s New York office are two transplants from the London studio, executive producer Dotti Sinnott and art director Sammy Moore. Both joined Golden Wolf in 2015, Sinnott from motion design studio Bigstar, where she was a senior producer, and Moore after a run as a freelance illustrator/designer in London’s agency scene.

Sinnott comments: “Building on the strength of our London team, the Golden Wolf brand will continue to grow and evolve with the fresh perspective of our New York creatives. Our presence on either side of the Atlantic not only brings us closer to existing clients, but also positions us perfectly to build new relationships with New York-based agencies and brands. On top of this, we’re able to use the time difference to our advantage to work on faster turnarounds and across a range of budgets.”

Founded in 2013 by Ingi Erlingsson, the studio’s executive creative director, Golden Wolf is known for youth-oriented work — especially content for social media, entertainment and sports — that blurs the lines of irreverent humor, dynamic action and psychedelia. Erlingsson was once a prolific graffiti artist and, later, illustrator/designer and creative director at U.K.-based design agency ilovedust. Today he inspires Golden Wolf’s creative culture and disruptive style fed in part by a wave of next-gen animation talent coming out of schools such as Gobelins in France and The Animation Workshop in Denmark.

“I’m excited about our affiliation with Psyop, which enjoys an incredible legacy producing industry-leading animated advertising content,” Erlingsson says. “Golden Wolf is the new kid on the block, with bags of enthusiasm and an aim to disrupt the industry with new ideas. The combination of the two studios means that we are able to tackle any challenge, regardless of format or technical approach, with the support of some of the world’s best artists and directors. The relationship allows brands and agencies to have complete confidence in our ability to solve even the biggest challenges.”

Golden Wolf’s initial work out of its New York studio includes spots for Supercell (client direct) and Bulleit Bourbon (Barton F. Graf). Golden Wolf is represented in the US market by Hunky Dory for the East Coast, Baer Brown for the Midwest and In House Reps for the West Coast. Stink represents the studio for Europe.

Main Photo: (L-R) Dotti Sinnott, Ingi Erlingsson and Sammy Moore.

Review: Foundry’s Athera cloud platform

By David Cox

I’ve been thinking for a while that there are two types of post houses — those that know what cloud technology can do for them, and those whose days are numbered. That isn’t to say that the use of cloud technology is essential to the survival of a post house, but if they haven’t evaluated the possibilities of it they’re probably living in the past. In such a fast-moving business, that’s not a good place to be.

The term “cloud computing” suffers a bit from being hijacked by know-nothing marketeers and has become a bit vague in meaning. It’s quite simple though: it just means a computer (or storage) owned and maintained by someone else, housed somewhere else and used remotely. The advantage is that a post house can reduce its destructive fixed overheads by owning fewer computers and thus save money on installation and upkeep. Cloud computers can be used as and when they are needed. This allows scaling up and down in proportion to workload.

Over the last few years, several providers have created global datacenters containing upwards of 50,000 servers per site, entirely for the use of anyone who wants to “remote in.” Amazon and Google are the two biggest providers, but as anyone who has tried to harness their power for post production can confirm, they’re not simple to understand or configure. Amazon alone has hundreds of different computer “instance” types, and accessing them requires navigating through a sea of unintelligible jargon. You must know your Elastic Beanstalks from your EC2, EKS and Lambda. And make sure you’ve worked out how to connect your S3, EFS and Glacier. Software licensing can also be tricky.

The truth is, these incredible cloud installations are for cleverer people than those of us that just like to make pretty pictures. They are more for the sort that like to build neural networks and don’t go outside very much. What our industry needs is some clever company to make a nice shiny front end that allows us to harness that power using the tools we know and love, and just make it all a bit simpler. Enter Athera, from Foundry. That’s exactly what they’ve done.

What is Athera?

Athera is a platform hosted on Google Cloud infrastructure that presents a user with icons for apps such as Nuke and Houdini. Access to each app is via short-term (30-day) rental. When an available app icon is clicked, a cloud computer is commanded into action, pre-installed with the chosen app. From then on, the app is used just as if locally installed. Of course, the app is actually running on a high-performance computer located in a secure and nicely cooled datacenter environment. Provided the user has a vaguely decent Internet connection, they’re good to go, because only the user interface is being transmitted across the network, not the actual raw image data.

Apps available on Athera include Foundry’s products, plus a few others. Nuke is represented in its base form, plus a Nuke X variant, Nuke Studio, and a combination of Nuke X and Cara VR. Also available are the Mari texture painting suite, Katana look-creating app and Modo CGI modeling software.

Athera also offers access to non-Foundry products like CGI software Houdini and Blender, as well as the Gaffer management tool.

NukeIn my first test, I rustled up an instance of Nuke Studio and one of Blender. The first thing I wanted to test was the GPU speed, as this can be somewhat variable for many cloud computer types (usually between zero and not much). I was pleasantly surprised as the rendering speed was close to that of a local Nvidia GeForce GTX 1080, which is pretty decent. I was also pleased to see that user preferences were maintained between sessions.

One thing that particularly impressed me was how I could call up multiple apps together and Athera would effectively build a network in the background to link them all up. Frames rendered out of Blender were instantly available in the cloud-hosted Nuke Studio, even though it was running on a different machine. This suggests the Athera infrastructure is well thought out because multi-machine, networked pipelines with attached storage are constructed with just a few clicks and without really thinking about it.

Access to the Athera apps is either by web browser or via a local client software called “Orbit.” In web browser mode, each app opens in its own browser tab. With Orbit, each app appears in a dedicated local window. Orbit boasts lower latency and the ability to use local hardware such as multiple monitors. Latency, which would show itself as a frustrating delay between control input and visual feedback, was impressively low, even when using the web browser interface. Generally, it was easy to forget that the app being used was not installed locally.

Getting files in and out was also straightforward. A Dropbox account can be directly linked, although a Google or Amazon S3 storage “bucket” is preferred for speed. There is also a hosted app called “Toolbox,” which is effectively a file browser to allow the management of files and folders.

The Athera platform also contains management and reporting features. A manager can set up projects and users, setting out which apps and projects a user has access to. Quotas can be set, and full reports are given as to who did what, when and with which app.

Athera’s pricing is laid out on their website and it’s interesting to drill into the costs and make comparisons. A user buys access to apps in 30-day blocks. Personally, I would like to see shorter blocks at some point to increase up/down scale flexibility. That said, render-only instances for many of the apps can be accessed on a per-second billing basis. The 30-day block comes with a “fair use” policy of 200 hours. This is a hard limit, which equates to around nine and a half hours per day for five-day weeks (which is technically known in post production as part time).

Figuring Out Cost
Blender is a good place to start analyzing cost because it’s open source (free) software, so the $244 Athera cost to run for 30 days/200 hours must be for hardware only. This equates to $1.22 per hour, which, compared to direct cloud computer usage, is pretty good value for the GPU-backed machine on offer.

Modo

Another way of comparing the amount of $244 a month would be to say that a new computer costing $5,800 depreciates at roughly this monthly rate if depreciated over two years. That is to say, if a computer of that value is kept for two years before being replaced, it effectively loses roughly $241 per month in value. If depreciated over three years, the figure is $80 per month less. Of course, that’s just comparing the cost of depreciation. Cost of ownership must also include the costs of updating, maintaining, powering, cooling, insuring, housing and repairing if (when!) it breaks down. If a cloud computer breaks down, Google has a few thousand waiting in the wings. In general, the base hardware cost seems quite competitive.

Of course, Blender is not really the juicy stuff. Access to a base Nuke, complete with workstation, is $685 per 30 days / 200 hours. Nuke X is $1,025. There are also “power” options for around 20% more, where a significantly more powerful machine is provided. Compared to running a local machine with purchased or rented software, these prices are very interesting. But when the ability to scale up and down with workload is factored in, especially being able to scale down to nothing during quiet times, the case for Athera becomes quite compelling.

Another helpful factor is that a single 30-day access block to a particular app can be shared between multiple users — as long as only one user has control of the app at a time. This is subject to the fair use limitation.

There is an issue if commercial (licensed) plug-ins are needed. For the time being, these can’t be used on Athera due to the obvious licensing issues relating to their installation on a different cloud machine each time. Hopefully, plugin developers will become alive to the possibilities of pay-per-use licensing, as a platform like Athera could be the perfect storefront.

Mari

Security
One of the biggest concerns about using remote computing is that of security. This concern tends to be more perceptual than real. The truth is that a Google datacenter is likely to have significantly more security than an average post company’s machine room. Also, they will be employing the best in the security business. But if material being worked on leaks out into the public, telling a client, “But I just sent it to Google and figured it would be fine,” isn’t going to sound great. Realistically, the most likely concern for security is the sending of data to and from a datacenter. A security breach inside the datacenter is very unlikely. As ever, a post producer has to remain vigilant.

Summing Up
I think Foundry has been very smart and forward thinking to create a platform that is able to support more than just Foundry products in the cloud. It would have been understandable if they just made it a storefront for alternative ways of using a Nuke (etc), but they clearly see a bigger picture. Using a platform like Athera, post infrastructure can be assembled and disassembled on demand to allow post producers to match their overheads to their workload.

Athera enables smart post producers to build a highly scalable post environment with access to a global pool of creative talent who can log in and contribute from anywhere with little more than a modest computer and internet connection.

I hate the term game-changer — it’s another term so abused by know-nothing marketeers who have otherwise run out of ideas — but Athera, or at least what this sort of platform promises to provide, is most certainly a game-changer. Especially if more apps from different manufacturers can be included.


David Cox is a VFX compositor and colorist with 20-plus years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox recently created interactive projects with full body motion sensors and 4D/AR experiences.

Our SIGGRAPH 2018 video coverage

SIGGRAPH is always a great place to wander around and learn about new and future technology. You can get see amazing visual effects reels and learn how the work was created by the artists themselves. You can get demos of new products, and you can immerse yourself in a completely digital environment. In short, SIGGRAPH is educational and fun.

If you weren’t able to make it this year, or attended but couldn’t see it all, we would like to invite you to watch our video coverage from the show.

SIGGRAPH 2018

postPerspective Impact Award winners from SIGGRAPH 2018

postPerspective has announced the winners of our Impact Awards from SIGGRAPH 2018 in Vancouver. Seeking to recognize debut products with real-world applications, the postPerspective Impact Awards are voted on by an anonymous judging body made up of respected industry artists and professionals. It’s working pros who are going to be using new tools — so we let them make the call.

The awards honor innovative products and technologies for the visual effects, post production and production industries that will influence the way people work. They celebrate companies that push the boundaries of technology to produce tools that accelerate artistry and actually make users’ working lives easier.

While SIGGRAPH’s focus is on VFX, animation, VR/AR, AI and the like, the types of gear they have on display vary. Some are suited for graphics and animation, while others have uses that slide into post production, which makes these SIGGRAPH Impact Awards doubly interesting.

The winners are as follows:

postPerspective Impact Award — SIGGRAPH 2018 MVP Winner:

They generated a lot of buzz at the show, as well as a lot of votes from our team of judges, so our MVP Impact Award goes to Nvidia for its Quadro RTX raytracing GPU.

postPerspective Impact Awards — SIGGRAPH 2018 Winners:

  • Maxon for its Cinema 4D R20 3D design and animation software.
  • StarVR for its StarVR One headset with integrated eye tracking.

postPerspective Impact Awards — SIGGRAPH 2018 Horizon Winners:

This year we have started a new Imapct Award category. Our Horizon Award celebrates the next wave of impactful products being previewed at a particular show. At SIGGRAPH, the winners were:

  • Allegorithmic for its Substance Alchemist tool powered by AI.
  • OTOY and Epic Games for their OctaneRender 2019 integration with UnrealEngine 4.

And while these products and companies didn’t win enough votes for an award, our voters believe they do deserve a mention and your attention: Wrnch, Google Lightfields, Microsoft Mixed Reality Capture and Microsoft Cognitive Services integration with PixStor.

 

Patrick Ferguson joins MPC LA as VFX supervisor

MPC’s Los Angeles studio has added Patrick Ferguson to its staff as visual effects supervisor. He brings with him experience working in both commercials and feature films.

Ferguson started out in New York and moved to Los Angeles in 2002, and he has since worked at a range of visual effect houses along the West Coast, including The Mission, where he was VFX supervisor, and Method, where he was head of 2D. “No matter where I am in the world or what I’m working on, one thing has remained consistent since I started working in the industry: I still love what I do. I think that’s the most important thing.”

Ferguson has collaborated with directors such as Stacy Wall, Mark Romanek, Melina Matsoukas, Brian Billow and Carl Rinsch, and has worked on campaigns for big global brands, including Nike, Apple, Audi, HP and ESPN.

He has also worked on high-profile films, including Pirates of the Caribbean and Alice in Wonderland, and he was a member of the Academy Award-winning team for The Curious Case of Benjamin Button.

“In this new role at MPC, I hope to bring my varied experience of working on large scale feature films as well as on commercials that have a much quicker turnaround time,” he says. “It’s all about knowing what the correct tools are for the particular job at hand, as every project is unique.”

For Ferguson, there is no substitute for being on set: “Being on set is vital, as that’s when key relationships are forged between the director, the crew, the agency and the entire team. Those shared experiences go a long way in creating a trust that is carried all the way through to end of the project and beyond.”

Behind the Title: Weta Digital VFX supervisor Erik Winquist

NAME: Erik Winquist

COMPANY: Wellington, New Zealand’s Weta Digital

CAN YOU DESCRIBE YOUR COMPANY?
We’re currently a collection of about 1,600 ridiculously talented artists and developers down at the bottom of the world who have created some the most memorable digital characters and visual effects for film over the last couple of decades. We’re named after a giant New Zealand bug.

WHAT’S YOUR JOB TITLE?
Visual Effects Supervisor

WHAT DOES THAT ENTAIL?
Making the director and studio happy without making my crew unhappy. Ensuring that everybody on the shoot has the same goal in mind for a shot before the cameras start rolling is one way to help accomplish both of those goals. Using the strengths and good ideas of everybody on your team is another.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The amount of problem solving that is required. Every show is completely different from the last. We’re often asked to do something and don’t know how we’re going to accomplish it at the outset. That’s where it’s incredibly important to have a crew full of insanely brilliant people you can bash ideas around with.

HOW DID YOU START YOUR CAREER IN VFX?
I went to school for it. After graduating from the Ringling College of Art and Design with a degree in computer animation, I eventually landed a job as an assistant animator at Pacific Data Images (PDI). The job title was a little misleading, because although my degree was fairly character animation-centric, the first thing I was asked to do at PDI was morphing. I found that I really enjoyed working on the 2D side of things, and that sent me down a path that ultimately got me hired as a compositor at Weta on The Lord of the Rings.

HOW LONG HAVE YOU BEEN WORKING IN VFX?
I was hired by PDI in 1998, so I guess that means 20 years now. (Whoa.)

HOW HAS THE VFX INDUSTRY CHANGED IN THE TIME YOU’VE BEEN WORKING? WHAT’S BEEN GOOD? WHAT’S BEEN BAD?
Oh, there’s just been so much great stuff. We’re able to make images now that are completely indistinguishable from reality. Thanks to massive technology advancements over the years, interactivity for artists has gotten way better. We’re sculpting incredible amounts of detail into our models, painting them with giga-pixels worth of texture information, scrubbing our animation in realtime, using hardware-accelerated engines to light our scenes, rendering them with physically-based renderers and compositing with deep images and a 3D workspace.

Of course, all of these efficiency gains get gobbled up pretty quickly by the ever-expanding vision of the directors we work for!

The industry’s technology advancements and flexibility have also perhaps had some downsides. Studios demand increasingly shorter post schedules, prep time is reduced, shots can be less planned out because so much can be decided in post. When the brief is constantly shifting, it’s difficult to deliver the quality that everyone wants. And when the quality isn’t there, suddenly the Internet starts clamoring that “CGI is ruining movies!”

But, when a great idea — planned well by a decisive director and executed brilliantly by a visual effects team working in concert with all of the other departments — the movie magic that results is just amazing. And that’s why we’re all here doing what we do.

DID A PARTICULAR FILM INSPIRE YOU ALONG THIS PATH IN ENTERTAINMENT?
There were some films I saw very early on that left a lasting impression: Clash of the Titans, The Empire Strikes Back. Later inspiration came in high school with the TV spots that Pixar was doing prior to Toy Story, and the early computer graphics work that Disney Feature Animation was employing in their films of the early ‘90s.

But the big ones that really set me off around this time were ILM’s work on Jurassic Park, and films like Jim Cameron’s The Abyss and Terminator 2. That’s why it was a particular kick to find myself on set with Jim on Avatar.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Dailies. When I challenge an artist to bring their best, and they come up with an idea that completely surprises me; that is way better than what I had imagined or asked for. Those moments are gold. Dailies is pretty much the only chance I have to see a shot for the first time like an audience member gets to, so I pay a lot of attention to my reaction to that very first impression.

WHAT’S YOUR LEAST FAVORITE?
Getting a shot ripped from our hands by those pesky deadlines before every little thing is perfect. And scheduling meetings. Though, the latter is critically important to make sure that the former doesn’t happen.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
There was a time when I was in grade school where I thought I might like to go into sound effects, which is a really interesting what-if scenario for me to think about. But these days, if I were to hang up my VFX hat, I imagine I would end up doing something photography-related. It’s been a passion for a very long time.

Rampage

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I supervised Weta’s work on Rampage, starring Dwayne Johnson and a very large albino gorilla. Prior to that was War for the Planet of the Apes, Spectral and Dawn of the Planet of the Apes.

WHAT IS THE PROJECT/S THAT YOU ARE MOST PROUD OF?
We had a lot of fun working on Rampage, and I think audiences had a ton of fun watching it. I’m quite proud of what we achieved with Dawn of the Planet of the Apes. But I’m also really fond of what our crew turned out for the Netflix film Spectral. That project gave us the opportunity to explore some VFX-heavy sci-fi imagery and was a really interesting challenge.

WHAT TOOLS DO YOU USE DAY TO DAY?
Most of my day revolves around reviewing work and communicating with my production team and the crew, so it’s our in-house review software, Photoshop and e-mail. But I’m constantly jumping in and out of Maya, and always have a Nuke session open for one thing or another. I’m also never without my camera and am constantly shooting reference photos or video, and have been known to initiate impromptu element shoots at a moment’s notice.

WHERE DO YOU FIND INSPIRATION NOW?
Everywhere. It’s why I always have my camera in my bag.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Scuba diving and sea kayaking are two hobbies that get me out in the water, though that happens far less than I would like. My wife and I recently bought a small rural place north of Wellington. I’ve found going up there doing “farm stuff” on the weekend is a great way to re-calibrate.

Animation and design studio Lobo expands to NYC’s Chinatown

After testing the New York market with a small footprint in Manhattan, creative animation/design studio Lobo has moved its operations to a new studio in New York’s Chinatown. The new location will be led by creative director Guilherme Marcondes, art director Felipe Jornada and executive producer Luis Ribeiro.

The space includes two suites, featuring the Adobe Creative Cloud apps, Autodesk Flame, Foundry Nuke and Blackmagic Resolve. There is also a finished rooftop deck and a multipurpose production space that will allow the team to scale per the specifications of each project.

Director/founder Mateus De Paula Santos will continue to oversee both New York offices creatively. Lobo’s NYC team will work closely with the award-winning São Paulo office, offering the infrastructure and horsepower of its nearly 200 staff with their US-based creative team.

Marcondes brings a distinct styling that fuses live action and animation techniques to craft immersive worlds. His art-driven style can be seen in work for clients such as Google, Chobani, Autism Speaks, Hyundai, Pepsi, Audi and British Gas. His short films have been screened at festivals worldwide, with his Tiger winning over 20 international awards. His latest film, Caveirão, made its worldwide premiere at SXSW.

Ribeiro brings over two decades of experience running business development and producing for creative post shops in the US, including Framestore, Whitehouse Post, Deluxe, Method Studios, Beast, Company 3 and Speedshape. He also served as the US consultant for FilmBrazil for four years, connecting US and Brazilian companies in the advertising production network.

Recent work out of Lobo’s US office includes the imaginative mixed media FlipLand campaign for Chobani, the animated PSA Sunshine for Day One out of BBDO NY and an animated short for the Imaginary Friends Society out of RPA.

Our Main Image: L-R: Luis Ribeiro, Mateus De Paula Santos, Felipe Jornada and Guilherme Marcondes.

Maxon intros Cinema 4D Release 20

Maxon will be at Siggraph this year showing the next iteration of its Cinema 4D Release 20 (R20), an update of its 3D design and animation software. Release 20 introduces high-end features for VFX and motion graphics artists including node-based materials, volume modeling, CAD import and an evolution of the MoGraph toolset.

Maxon expects Cinema 4D Release 20 to be available this September for both Mac and Windows operating systems.

Key highlights in Release 20 include:
Node-Based Materials – This feature provides new possibilities for creating materials — from simple references to complex shaders — in a node-based editor. With more than 150 nodes to choose from that perform different functions, artists can combine nodes to easily build complex shading effects. Users new to a node-based material workflow still can rely on Cinema 4D’s standard Material Editor interface to create the corresponding node material in the background automatically. Node-based materials can be packaged into assets with user-defined parameters exposed in a similar interface to Cinema 4D’s Material Editor.

MoGraph Fields – New capabilities in this procedural animation toolset offer an entirely new way to define the strength of effects by combining falloffs — from simple shapes, to shaders or sounds to objects and formulas. Artists can layer Fields atop each other with standard mixing modes and remap their effects. They can also group multiple Fields together and use them to control effectors, deformers, weights and more.

CAD Data Import – Popular CAD formats can be imported into Cinema 4D R20 with a drag and drop. A new scale-based tessellation interface allows users to adjust detail to build amazing visualizations. Step, Solidworks, JT, Catia V5 and IGES formats are supported.

Volume Modeling – Users can create complex models by adding or subtracting basic shapes in Boolean-type operations using Cinema 4D R20’s OpenVDB–based Volume Builder and Mesher. They can also procedurally build organic or hard-surface volumes using any Cinema 4D object, including new Field objects. Volumes can be exported in sequenced .vdb format for use in any application or render engine that supports OpenVDB.

ProRender Enhancements — ProRender in Cinema 4D R20 extends the GPU-rendering toolset with key features including subsurface scattering, motion blur and multipasses. Also included are Metal 2 support, an updated ProRender core, out-of-core textures and other architectural enhancements.

Core Technology Modernization —As part of the transition to a more modern core in Cinema 4D, R20 comes with substantial API enhancements, the new node framework, further development on the new modeling framework and a new UI framework.

During Siggraph, Maxon will have guest artists presenting at their booth each day of the show. Presentations will be live streamed on C4DLive.com.

 

 

Review: Maxon Cinema 4D R19 — an editor’s perspective

By Brady Betzel

It’s time for my yearly review of Maxon’s Cinema 4D. Currently in Release 19, Cinema 4D comes with a good amount of under-the-hood updates. I am an editor, first and foremost, so while I dabble in Cinema 4D, I am not an expert. There are a few things in the latest release, however, that directly correlate to editors like me.

Maxon offers five versions of Cinema 4D, not including BodyPaint 3D. There is the Cinema 4D Lite, which comes free with Adobe After Effects. It is really an amazing tool for discovering the world of 3D without having to invest a bunch of money. But, if you want all the goodies that come packed into Cinema 4D you will have to pay the piper and purchase one of the other four versions. The other versions include Prime, Broadcast, Visualize and Studio.

Cinema 4D Prime is the first version that includes features like lighting, cameras and animation. Cinema 4D Broadcast includes all of Cinema 4D Prime’s features as well as the beloved MoGraph tools and the Broadcast Library, which offers pre-built objects and cameras that will work with motion graphics. Cinema 4D Visualize includes Cinema 4D Prime features as well, but is geared more toward architects and designers. It includes Sketch and Toon, as well as an architecturally focused library of objects and presets. Cinema 4D Studio includes everything in the other versions plus unlimited Team Render nodes, a hair system, a motion/object tracker and much more. If you want to see a side-by-side comparison you can check out Maxon’s website.

What’s New
As usual, there are a bunch of new updates to Cinema 4D Release 19, but I am going to focus on my top three, which relate to the workflows and processes I might use as an editor: New Media Core, Scene Reconstruction and the Spherical Camera. Obviously, there are a lot more updates — including the incredible new OpenGL Previews and the cross-platform ProRender, which adds the ability to use AMD or Nvidia graphics cards — but to keep this review under 30 pages I am focusing on the three that directly impact my work.

New Media Core
Buckle up! You can now import animated GIFs into Cinema 4D. So, yes, you can import animated GIFs into Cinema 4D Release 19, but that is just one tiny aspect of this update. The really big addition is the QuickTime-free support of MP4 videos. Now MP4s can be imported and used as textures, as well as exported with different compression settings, directly from within Cinema 4D’s  interface — all of this without the need to have QuickTime installed. What is cool about this is that you no longer need to export image-based file sequences to get your movie inside of Cinema 4D. The only slowdown will be how long it takes Cinema 4D R19 to cache your MP4 so that you will have realtime playback… if possible.

In my experience, it doesn’t take that much time, but that will be dependent on your system performance. While this is a big under-the-hood type of update, it is great for those quick exports of a scene for approval. No need to take your export into Adobe Media Encoder, or something else, to squeeze out an MP4.

Scene Reconstruction
First off, for any new Cinema 4D users out there, Scene Reconstruction is convoluted and a little thick to wade through. However, if you work with footage and want to add motion graphics work to a scene, you will want to learn this. You can check out this Cineversity.com video for an eight-minute overview.

Cinema 4D’s Scene Reconstruction works by tracking your footage to generate point clouds, and then after you go back and enable Scene Reconstruction, it creates a mesh from the resulting scene calculation that Cinema 4D computes. In the end, depending on how compatible your footage is with Scene Detection (i.e. contrasting textures and good lighting will help) you will get a camera view with matching scene vertices that are then fully animatable. I, unfortunately, do not have enough time to recreate a set or scene inside of Cinema 4D R19, however, it feels like Maxon is getting very close to fully automated scene reconstruction, which would be very, very interesting.

I’ve seen a lot of ideas from pros on Twitter and YouTube that really blow my mind, like 3D scanning with a prosumer camera to recreate objects inside of Cinema 4D. Scene Reconstruction could be a game-changing update, especially if it becomes more automated as it would allow base users like me to recreate a set in Cinema 4D without having to physically rebuild a set. A pretty incredible motion graphics-compositing future is really starting to emerge from Cinema 4D.

In addition, the Motion Tracker has received some updates, including manual tracking on R, G, B, or custom channel — viewed as Tracker View — and the tracker can now work with a circular tracking pattern.

Spherical Camera
Finally, the last update, which seems incredible, is the new Spherical Camera. It’s probably because I have been testing and using a lot more 360 video, but the ability to render your scene using a Spherical Camera is here. You can now create a scene, add a camera and enable Spherical mapping, including equirectangular, cubic string, cubic cross or even Facebook’s 360 video 3×2 cubic format. In addition, there is now support for Stereo VR as well as dome projection.

Other Updates
In addition to the three top updates I’ve covered, there are numerous others updates that are just as important, if not more so to those who use Cinema 4D in other ways. In my opinion, the rendering updates take the cake. Also, as mentioned before, there is support for both Nvidia and AMD GPUs, multi-GPU support, incredible viewport enhancements with Physical Rendering and interactive Preview Renders in the viewport.

Under MoGraph, there is an improved Voronoi Fracture system (ability to destroy an object quickly) including improved performance for high polygon counts and detailing to give the fracture a more realistic look. There is also a New Sound Effector to allow for interactive MoGraph creation to the beat of the music. One final note: the new Modern Modelling Kernel has been introduced. The new kernel gives more ability to things like polygon reduction and levels of detail.

In the end, Cinema 4D Release 19 is a huge under-the-hood update that will please legacy users but will also attract new users with AMD-based GPUs. Moreover, Maxon seems to be slowly morphing Cinema 4D into a total 2D and 3D modeling and motion graphics powerhouse, much like the way Blackmagic’s Resolve is for colorists, video editors, VFX creators and audio mixers.

Summing Up
With updates like Scene Recreation and improved motion tracking, Maxon gives users like me the ability to work way above their pay grade to composite 3D objects onto our 2D footage. If any of this sounds interesting to you and you are a paying Adobe Creative Cloud user, download and open up Cinema 4D Lite along with After Effects, then run over to Cineversity and brush up on the basics. Cinema 4D Release 19 is an immensely powerful 3D application that is blurring the boundaries between 3D and 2D compositing. With Cinema 4D Release 19’s large library of objects, preset scenes and lighting setups you can be experimenting in no time, and I didn’t even touch on the modeling and sculpting power!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.