Arraiy 4.11.19

Category Archives: VFX

NAB 2019: An engineer’s perspective

By John Ferder

Last week I attended my 22nd NAB, and I’ve got the Ross lapel pin to prove it! This was a unique NAB for me. I attended my first 20 NABs with my former employer, and most of those had me setting up the booth visits for the entire contingent of my co-workers and making sure that the vendors knew we were at each booth and were ready to go. Thursday was my “free day” to go wandering and looking at the equipment, cables, connectors, test gear, etc., that I was looking for.

This year, I’m part of a new project, so I went with a shopping list and a rough schedule with the vendors we needed to see. While I didn’t get everywhere I wanted to go, the three days were very full and very rewarding.

Beck Video IP panel

Sessions and Panels
I also got the opportunity to attend the technical sessions on Saturday and Sunday. I spent my time at the BEITC in the North Hall and the SMPTE Future of Cinema Conference in the South Hall. Beck TV gave an interesting presentation on constructing IP-based facilities of the future. While SMPTE ST2110 has been completed and issued, there are still implementation issues, as NMOS is still being developed. Today’s systems are and will for the time being be hybrid facilities. The decision to be made is whether the facility will be built on an IP routing switcher core with gateways to SDI, or on an SDI routing switcher core with gateways to IP.

Although more expensive, building around an IP core would be more efficient and future-proof. Fiber infrastructure design, test equipment and finding engineers who are proficient in both IP and broadcast (the “Purple Squirrels”) are large challenges as well.

A lot of attention was also paid to cloud production and distribution, both in the BEITC and the FoCC. One such presentation, at the FoCC, was on VFX in the cloud with an eye toward the development of 5G. Nathaniel Bonini of BeBop Technology reported that BeBop has a new virtual studio partnership with Avid, and that the cloud allows tasks to be performed in a “massively parallel” way. He expects that 5G mobile technology will facilitate virtualization of the network.

VFX in the Cloud panel

Ralf Schaefer, of the Fraunhofer Heinrich-Hertz Institute, expressed his belief that all devices will be attached to the cloud via 5G, resulting in no cables and no mobile storage media. 5G for AR/VR distribution will render the scene in the network and transmit it directly to the viewer. Denise Muyco of StratusCore provided a link to a virtual workplace: https://bit.ly/2RW2Vxz. She felt that 5G would assist in the speed of the collaboration process between artist and client, making it nearly “friction-free.” While there are always security concerns, 5G would also help the prosumer creators to provide more content.

Chris Healer of The Molecule stated that 5G should help to compress VFX and production workflows, enable cloud computing to work better and perhaps provide realtime feedback for more perfect scene shots, showing line composites of VR renders to production crews in remote locations.

The Floor
I was very impressed with a number of manufacturers this year. Ross Video demonstrated new capabilities of Inception and OverDrive. Ross also showed its new Furio SkyDolly three-wheel rail camera system. In addition, 12G single-link capability was announced for Acuity, Ultrix and other products.

ARRI AMIRA (Photo by Cotch Diaz)

ARRI showed a cinematic multicam system built using the AMIRA camera with a DTS FCA fiber camera adapter back and a base station controllable by Sony RCP1500 or Skaarhoj RCP. The Sony panel will make broadcast-centric people comfortable, but I was very impressed with the versatility of the Skaarhoj RCP. The system is available using either EF, PL, or B4 mount lenses.

During the show, I learned from one of the manufacturers that one of my favorite OLED evaluation monitors is going to be discontinued. This was bad news for the new project I’ve embarked on. Then we came across the Plura booth in the North Hall. Plura as showing a new OLED monitor, the PRM-224-3G. It is a 24.5-inch diagonal OLED, featuring two 3G/HD/SD-SDI and three analog inputs, built-in waveform monitors and vectorscopes, LKFS audio measurement, PQ and HLG, 10-bit color depth, 608/708 closed caption monitoring, and more for a very attractive price.

Sony showed the new HDC-3100/3500 3xCMOS HD cameras with global shutter. These have an upgrade program to UHD/HDR with and optional processor board and signal format software, and a 12G-SDI extension kit as well. There is an optional single-mode fiber connector kit to extend the maximum distance between camera and CCU to 10 kilometers. The CCUs work with the established 1000/1500 series of remote control panels and master setup units.

Sony’s HDC-3100/3500 3xCMOS HD camera

Canon showed its new line of 4K UHD lenses. One of my favorite lenses has been the HJ14ex4.3B HD wide-angle portable lens, which I have installed in many of the studios I’ve worked in. They showed the CJ14ex4.3B at NAB, and I even more impressed with it. The 96.3-degree horizontal angle of view is stunning, and the minimization of chromatic aberration is carried over and perhaps improved from the HJ version. It features correction data that support the BT.2020 wide color gamut. It works with the existing zoom and focus demand controllers for earlier lenses, so it’s  easily integrated into existing facilities.

Foot Traffic
The official total of registered attendees was 91,460, down from 92,912 in 2018. The Evertz booth was actually easy to walk through at 10a.m. on Monday, which I found surprising given the breadth of new interesting products and technologies. Evertz had to show this year. The South Hall had the big crowds, but Wednesday seemed emptier than usual, almost like a Thursday.

The NAB announced that next year’s exhibition will begin on Sunday and end on Wednesday. That change might boost overall attendance, but I wonder how adversely it will affect the attendance at the conference sessions themselves.

I still enjoy attending NAB every year, seeing the new technologies and meeting with colleagues and former co-workers and clients. I hope that next year’s NAB will be even better than this year’s.

Main Image: Barbie Leung.


John Ferder is the principal engineer at John Ferder Engineer, currently Secretary/Treasurer of SMPTE, an SMPTE Fellow, and a member of IEEE. Contact him at john@johnferderengineer.com.

Autodesk’s Flame 2020 features machine learning tools

Autodesk’s new Flame 2020 offers a new machine-learning-powered feature set with a host of new capabilities for Flame artists working in VFX, color grading, look development or finishing. This latest update will be showcased at the upcoming NAB Show.

Advancements in computer vision, photogrammetry and machine learning have made it possible to extract motion vectors, Z depth and 3D normals based on software analysis of digital stills or image sequences. The Flame 2020 release adds built-in machine learning analysis algorithms to isolate and modify common objects in moving footage, dramatically accelerating VFX and compositing workflows.

New creative tools include:
· Z-Depth Map Generator— Enables Z-depth map extraction analysis using machine learning for live-action scene depth reclamation. This allows artists doing color grading or look development to quickly analyze a shot and apply effects accurately based on distance from camera.
· Human Face Normal Map Generator— Since all human faces have common recognizable features (relative distance between eyes, nose, location of mouth) machine learning algorithms can be trained to find these patterns. This tool can be used to simplify accurate color adjustment, relighting and digital cosmetic/beauty retouching.
· Refraction— With this feature, a 3D object can now refract, distorting background objects based on its surface material characteristics. To achieve convincing transparency through glass, ice, windshields and more, the index of refraction can be set to an accurate approximation of real-world material light refraction.

Productivity updates include:
· Automatic Background Reactor— Immediately after modifying a shot, this mode is triggered, sending jobs to process. Accelerated, automated background rendering allows Flame artists to keep projects moving using GPU and system capacity to its fullest. This feature is available on Linux only, and can function on a single GPU.
· Simpler UX in Core Areas— A new expanded full-width UX layout for MasterGrade, Image surface and several Map User interfaces, are now available, allowing for easier discoverability and accessibility to key tools.
· Manager for Action, Image, Gmask—A simplified list schematic view, Manager makes it easier to add, organize and adjust video layers and objects in the 3D environment.
· Open FX Support—Flame, Flare and Flame Assist version 2020 now include comprehensive support for industry-standard Open FX creative plugins such as Batch/BFX nodes or on the Flame timeline.
· Cryptomatte Support—Available in Flame and Flare, support for the Cryptomatte open source advanced rendering technique offers a new way to pack alpha channels for every object in a 3D rendered scene.

For single-user licenses, Linux customers can now opt for monthly, yearly and three-year single user licensing options. Customers with an existing Mac-only single user license can transfer their license to run Flame on Linux.
Flame, Flare, Flame Assist and Lustre 2020 will be available on April 16, 2019 at no additional cost to customers with a current Flame Family 2019 subscription. Pricing details can be found at the Autodesk website.

Arraiy 4.11.19

VFX and color for new BT spot via The Mill

UK telco BT wanted to create a television spot that showcased the WiFi capabilities of its broadband hub and underline its promise of “whole home coverage.” Sonny director Fredrik Bond visualized a fun and fast-paced spot for agency AMV BBDO, and a The Mill London was brought onboard to help with VFX and color. It is called Complete WiFi.

In the piece, the hero comes home to find it full of soldiers, angels, dancers, fairies, a giant and a horse — characters from the myriad of games and movies the family are watching simultaneously. Obviously, the look depends upon multiple layers of compositing, which have to be carefully scaled to be convincing.

They also need to be very carefully color matched, with similar lighting applied, so all the layers sit together. In a traditional workflow, this would have meant a lot of loops between VFX and grading to get the best from each layer, and a certain amount of compromise as the colorist imposed changes on virtual elements to make the final grade.

To avoid this, and to speed progress, The Mill recently started using BLG for Flame, a FilmLilght plugin that allows Baselight grades to be rendered identically within Flame — and with no back and forth to the color suite to render out new versions of shots. It means the VFX supervisor is continually seeing the latest grade and the colorist can access the latest Flame elements to match them in.

“Of course it was frustrating to grade a sequence and then drop the VFX on top,” explains VFX supervisor Ben Turner. “To get the results our collaborators expect, we were constantly pushing material to and fro. We could end up with more than a hundred publishes on a single job.”

With the BLG for Flame plugin, the VFX artist sees the latest Baselight grade automatically applied, either from FilmLight’s BLG format files or directly from a Baselight scene, even while the scene is still being graded — although Turner says he prefers to be warned when updates are coming.

This works because all systems have access to the raw footage. Baselight grades non-destructively, by building up layers of metadata that are imposed in realtime. The metadata includes all the grading information, multiple windows and layers, effects and relights, textures and more – the whole process. This information can be imposed on the raw footage by any BLG-equipped device (there are Baselight Editions software plugins for Avid and Nuke, too) for realtime rendering and review.

That is important because it also allows remote viewing. For this BT spot, director Bond was back in Los Angeles by the time of the post. He sat in a calibrated room in The Mill in LA and could see the graded images at every stage. He could react quickly to the first animation tests.

“I can render a comp and immediately show it to a client with the latest grade from The Mill’s colorist, Dave Ludlam,” says Turner. “When the client really wants to push a certain aspect of the image, we can ensure through both comp and grade that this is done sympathetically, maintaining the integrity of the image.”

(L-R) VFX supervisor Ben Turner and colorist Dave Ludlam.

Turner admits that it means more to-ing and fro-ing, but that is a positive benefit. “If I need to talk to Dave then I can pop in and solve a specific challenge in minutes. By creating the CGI to work with the background, I know that Dave will never have to push anything too hard in the final grade.”

Ludlam agrees that this is a complete change, but extremely beneficial. “With this new process, I am setting looks but I am not committing to them,” he says. “Working together I get a lot more creative input while still achieving a much slicker workflow. I can build the grade and only lock it down when everyone is happy.

“It is a massive speed-up, but more importantly it has made our output far superior. It gives everyone more control and — with every job under huge time pressure — it means we can respond quickly.”

The spot was offlined by Patric Ryan from Marshall Street. Audio post was via 750mph with sound designers Sam Ashwell and Mike Bovill.


Veteran VFX supervisor Lindy De Quattro joins MPC Film

Long-time visual effects supervisor Lindy De Quattro has joined MPC Film in Los Angeles. Over the last two and a half decades, which included 21 years at ILM, De Quattro has worked with directors such as Guillermo Del Toro, Alexander Payne and Brad Bird. She also currently serves on the Executive Committee for the VFX branch of the Academy of Motion Picture Arts and Sciences.

De Quattro’s VFX credits include Iron Man 2, Mission Impossible: Ghost Protocol, Downsizing and Pacific Rim, for which she won a VES Award for Outstanding Visual Effects. In addition to supervising visual effects teams, she has also provided on-set supervision.

De Quattro says she was attracted to MPC because of “their long history of exceptional high-quality visual effects, but I made the decision to come on board because of their global commitment to inclusion and diversity in the VFX industry. I want to be an active part of the change that I see beginning to happen all around me, and MPC is giving me the opportunity to do just that. They say, ‘If you can see it, you can be it.’ Girls need role models, and women and other underrepresented groups in the industry need mentors. In my new role at MPC I will strive to be both while contributing to MPC’s legacy of outstanding visual effects.”

The studio’s other VFX supervisors include Richard Stammers (Dumbo, The Martian, X-Men: Days of Future Past), Erik Nash (Avengers Assemble, Titanic), Nick Davis (The Dark Knight, Edge of Tomorrow) and Adam Valdez (The Lion King, Maleficent, The Jungle Book).

MPC Film is currently working on The Lion King, Godzilla: King of the Monsters, Detective Pikachu, Call of the Wild and The New Mutants.


Behind the Title: Nice Shoes animator Yandong Dino Qiu

This artist/designer has taken to sketching people on the subway to keep his skills fresh and mind relaxed.

NAME: Yandong Dino Qiu

COMPANY: New York’s Nice Shoes

CAN YOU DESCRIBE YOUR COMPANY?
Nice Shoes is a full-service creative studio. We offer design, animation, VFX, editing, color grading, VR/AR, working with agencies, brands and filmmakers to help realize their creative vision.

WHAT’S YOUR JOB TITLE?
Designer/Animator

WHAT DOES THAT ENTAIL?
Helping our clients to explore different looks in the pre-production stage, while aiding them in getting as close as possible to the final look of the spot. There’s a lot of exploration and trial and error as we try to deliver beautiful still frames that inform the look of the moving piece.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Not so much for the title, but for myself, design and animation can be quite broad. People may assume you’re only 2D, but it also involves a lot of other skill sets such as 3D lighting and rendering. It’s pretty close to a generalist role that requires you to know nearly every software as well as to turn things around very quickly.

WHAT TOOLS DO YOU USE?
Photoshop, After Effects,. Illustrator, InDesign — the full Adobe Creative Suite — and Maxon Cinema 4D.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Pitch and exploration. At that stage, all possibilities are open. The job is alive… like a baby. You’re seeing it form and helping to make new life. Before this, you have no idea what it’s going to look like. After this phase, everyone has an idea. It’s very challenging, exciting and rewarding.

WHAT’S YOUR LEAST FAVORITE?
Revisions. Especially toward the end of a project. Everything is set up. One little change will affect everything else.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
2:15pm. Its right after lunch. You know you have the whole afternoon. The sun is bright. The mood is light. It’s not too late for anything.

Sketching on the subway.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I would be a Manga artist.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
La Mer. Frontline. Friskies. I’ve also been drawing during my commute everyday, sketching the people I see on the subway. I’m trying to post every week on Instagram. I think it’s important for artists to keep to a routine. I started up with this at the beginning of 2019, and there’ve been about 50 drawings already. Artists need to keep their pen sharp all the time. By doing these sketches, I’m not only benefiting my drawing skills, but I’m improving my observation about shapes and compositions, which is extremely valuable for work. Being able to break down shapes and components is a key principle of design, and honing that skill helps me in responding to client briefs.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
TED-Ed What Is Time? We had a lot of freedom in figuring out how to animate Einstein’s theories in a fun and engaging way. I worked with our creative director Harry Dorrington to establish the look and then with our CG team to ensure that the feel we established in the style frames was implemented throughout the piece.

TED-Ed What Is Time?

The film was extremely well received. There was a lot of excitement at Nice Shoes when it premiered, and TED-Ed’s audience seemed to respond really warmly as well. It’s rare to see so much positivity in the YouTube comments.

NAME SOME TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Wacom tablet for drawing and my iPad for reading.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I take time and draw for myself. I love that drawing and creating is such a huge part of my job, but it can get stressful and tiring only creating for others. I’m proud of that work, but when I can draw something that makes me personally happy, any stress or exhaustion from the work day just melts away.


FilmLight offers additions to Baselight toolkit

FilmLight will be at NAB showing updates to its Baselight toolkit, including T-Cam v2. This is FilmLight’s new and improved color appearance model, which allows the user to render an image for all formats and device types with confidence of color.

It combines with the Truelight Scene Looks and ARRI Look Library, now implemented within the Baselight software. “T-CAM color handling with the updated Looks toolset produces a cleaner response compared to creative, camera-specific LUTs or film emulations,” says Andrea Chlebak, senior colorist at Deluxe’s Encore in Hollywood. “I know I can push the images for theatrical release in the creative grade and not worry about how that look will translate across the many deliverables.”

FilmLight had added what they call “a new approach to color grading” with the addition of Texture Blend tools, which allow the colorist to apply any color grading operation dependent on image detail. This gives the colorist fine control over the interaction of color and texture.

Other workflow improvements aimed at speeding the process include enhanced cache management; a new client view that displays a live web-based representation of a scene showing current frame and metadata; and multi-directory conform for a faster and more straightforward conform process.

The latest version of Baselight software also includes per-pixel alpha channels, eliminating the need for additional layer mattes when compositing VFX elements. Tight integration with VFX suppliers, including Foundry Nuke and Autodesk, means that new versions of sequences can be automatically detected, with the colorist able to switch quickly between versions within Baselight.


VFX house Rodeo FX acquires Rodeo Production

Visual effects studio Rodeo FX, whose high-profile projects include Dumbo, Aquaman and Bumblebee, has purchased Rodeo Production and added its roster of photographers and directors to its offerings.

The two companies, whose common name is just a coincidence, will continue to operate as distinct entities. Rodeo Production’s 10-year-old Montreal office will continue to manage photo and video production, but will now also offer RodeoFX’s post production services and technical expertise.

In Toronto, Rodeo FX plans to open an Autodesk Flame editing suite in the Rodeo Production’ studio and expand its Toronto roster of photographers and directors with the goal of developing stronger production and post services for clients in the city’s advertising, television and film industries.

“This is a milestone in our already incredible history of growth and expansion,” says Sébastien Moreau, founder/president of Rodeo FX, which has offices in LA and Munich in addition to Montreal.

“I have always worked hard to give our artists the best possible opportunities, and this partnership was the logical next step,” says Rodeo Production’s founder Alexandra Saulnier. “I see this as a fusion of pure creativity and innovative technology. It’s the kind of synergy that Montreal has become famous for; it’s in our DNA.”

Rodeo Production clients include Ikea, Under Armour and Mitsubishi.


Quick Chat: Lord Danger takes on VFX-heavy Devil May Cry 5 spot

By Randi Altman

Visual effects for spots have become more and more sophisticated, and the recent Capcom trailer promoting the availability of its game Devil May Cry 5 is a perfect example.

 The Mike Diva-directed Something Greater starts off like it might be a commercial for an anti-depressant with images of a woman cooking dinner for some guests, people working at a construction site, a bored guy trimming hedges… but suddenly each of our “Everyday Joes” turns into a warrior fighting baddies in a video game.

Josh Shadid

The hedge trimmer’s right arm turns into a futuristic weapon, the construction worker evokes a panther to fight a monster, and the lady cooking is seen with guns a blazin’ in both hands. When she runs out of ammo, and to the dismay of her dinner guests, her arms turn into giant saws. 

Lord Danger’s team worked closely with Capcom USA to create this over-the-top experience, and they provided everything from production to VFX to post, including sound and music.

We reached out to Lord Danger founder/EP Josh Shadid to learn more about their collaboration with Capcom, as well as their workflow.

How much direction did you get from Capcom? What was their brief to you?
Capcom’s fight-games director of brand marketing, Charlene Ingram, came to us with a simple request — make a memorable TV commercial that did not use gameplay footage but still illustrated the intensity and epic-ness of the DMC series.

What was it shot on and why?
We shot on both Arri Alexa Mini and Phantom Flex 4k using Zeiss Super Speed MKii Prime lenses, thanks to our friends at Antagonist Camera, and a Technodolly motion control crane arm. We used the Phantom on the Technodolly to capture the high-speed shots. We used that setup to speed ramp through character actions, while maintaining 4K resolution for post in both the garden and kitchen transformations.

We used the Alexa Mini on the rest of the spot. It’s our preferred camera for most of our shoots because we love the combination of its size and image quality. The Technodolly allowed us to create frame-accurate, repeatable camera movements around the characters so we could seamlessly stitch together multiple shots as one. We also needed to cue the fight choreography to sync up with our camera positions.

You had a VFX supervisor on set. Can you give an example of how that was beneficial?
We did have a VFX supervisor on site for this production. Our usual VFX supervisor is one of our lead animators — having him on site to work with means we’re often starting elements in our post production workflow while we’re still shooting.

Assuming some of it was greenscreen?
We shot elements of the construction site and gardening scene on greenscreen. We used pop-ups to film these elements on set so we could mimic camera moves and lighting perfectly. We also took photogrammetry scans of our characters to help rebuild parts of their bodies during transition moments, and to emulate flying without requiring wire work — which would have been difficult to control outside during windy and rainy weather.

Can you talk about some of the more challenging VFX?
The shot of the gardener jumping into the air while the camera spins around him twice was particularly difficult. The camera starts on a 45-degree frontal, swings behind him and then returns to a 45-degree frontal once he’s in the air.

We had to digitally recreate the entire street, so we used the technocrane at the highest position possible to capture data from a slow pan across the neighborhood in order to rebuild the world. We also had to shoot this scene in several pieces and stitch it together. Since we didn’t use wire work to suspend the character, we also had to recreate the lower half of his body in 3D to achieve a natural looking jump position. That with the combination of the CG weapon elements made for a challenging composite — but in the end, it turned out really dramatic (and pretty cool).

Were any of the assets provided by Capcom? All created from scratch?
We were provided with the character and weapons models from Capcom — but these were in-game assets, and if you’ve played the game you’ll see that the environments are often dark and moody, so the textures and shaders really didn’t apply to a real-world scenario.

Our character modeling team had to recreate and re-interpret what these characters and weapons would look like in the real world — and they had to nail it — because game culture wouldn’t forgive a poor interpretation of these iconic elements. So far the feedback has been pretty darn good.

In what ways did being the production company and the VFX house on the project help?
The separation of creative from production and post production is an outdated model. The time it takes to bring each team up to speed, to manage the communication of ideas between creatives and to ensure there is a cohesive vision from start to finish, increases both the costs and the time it takes to deliver a final project.

We shot and delivered all of Devil May Cry’s Something Greater in four weeks total, all in-house. We find that working as the production company and VFX house reduces the ratio of managers per creative significantly, putting more of the money into the final product.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 


Review: Yanobox Nodes 3 — plugins for Premiere, AE, FCPX, Motion

By Brady Betzel

Did you ever see a plugin preview and immediately think, “I need to have that?” Well, Nodes 3 by Yanobox is that plugin for me. Imagine if Video CoPilot’s Element 3D and Red Giant’s Trapcode and Form had a baby — you would probably end up with something like Nodes 3.

Nodes 3 is a MacOS-only plugin for Adobe’s After Effects and Premiere Pro and Apple’s Final Cut Pro X and Motion. I know what you are thinking: Why isn’t this made for Windows? Good question, but I don’t think it will ever be ported over.

Final Cut Pro

What is it? Nodes 3 is a particle, text, .obj and point cloud replicator, as well as overall mind-blower. With just one click in their preset library you can create stunning fantasy user interfaces (FUIs), such as HUDs or the like. From Transformer-like HUDs to visual data representations interconnected with text and bar graphs, Nodes 3 needs to be seen to be believed. Ok, enough gloating and fluff, let’s get to the meat and potatoes.

A Closer Look
Nodes 3 features a new replicator, animation module and preset browser. The replicator allows you to not only create your HUD or data representation, but also replicates it onto other 2D and 3D primitive shapes (like circles or rectangles) and animates those replications individually or as a group. One thing I really love is the ability to randomize node and/or line values — Yanobox labels this “Probabilities.” You can immediately throw multiple variations of your work together with a few mouse-clicks instead of lines of scripting.

As I mentioned earlier, Nodes 3 is essentially a mix of Element 3D and Trapcode — it’s part replicator/part particle generator and it works easily with After Effect’s 3D cameras (obviously if you are working inside of After Effects) to affect rotations, scale and orientation. The result is a particle replication that feels organic and fresh instead of static and stale. The Auto-Animations offering allows you to quickly animate up to four parts of a structure you’ve built, with 40 parameter choices under each of the four slots. You can animate the clockwise rotation of an ellipse with a point on it, while also rotating the entire structure in toward the z-axis.

Replicator

The newly updated preset browser allows you to save a composition as a preset and open it from within any other compatible host. This allows you to make something with Nodes 3 inside of After Effects and then work with it inside of Final Cut Pro X. That can be super handy and help streamline VFX work. From importing an .obj file to real video, you can generate point clouds from unlimited objects and literally explode them into hundreds of interconnecting points and lines, all animated randomly. It’s amazing.

If you are seeing this and thinking about using Nodes for data representation, that is one of the more beautiful functions of this plugin. First, check out how to turn seemingly boring bar graphs into mesmerizing creations.

For me Nodes really began to click when they described how each node is defined by an index number. Meaning, each node has even and odd numbers assigned to them, allowing for some computer-science geeky-ness, like skipping even or odd rows and adding animated oscillations for some really engrossing graph work.

When I reviewed Nodes 2 back in 2014, what really gave me a “wow” moment was when they showed a map of the United States along with text for each state and its capital. From there you could animate an After Effect’s 3D camera to reproduce a fly-over but with this futuristic HUD/FUI.

Adobe Premiere

On a motion graphics primal level, this really changed and evolved my way of thinking. Not only did United States graphics not have to be plain maps with animated dotted lines, they could be reimagined with sine-wave-based animations or even gently oscillating data points. Nodes 3 really can turn boring into mesmerizing quickly. The only limiting factor is your mind and some motion graphic design creativity.

To get a relatively quick look into the new replicator options inside of Nodes 3, go to FxFactory Plugins’ YouTube page for great tutorials and demos.

If you get even a tiny bit excited when seeing work from HUD masters like Jayse Hansen or plugins like Element 3D, run over to fxfactory.com and download their plugin app to use Yanobox Nodes 3. You can even get a fully working trial to just test out some of their amazing presets. And if you like what you see, you should definitely hand them $299 for the Nodes 3 plugin.

One slight negative for me — I’m not a huge fan of the FxFactory installer. Not because it messes anything up, but because I have to download a plugin loader for the plugin — double download and potential bloating. Not that I see any slowdown on my system, but it would be nice if I could just download Nodes 3 and nothing else. That is small potatoes though; Nodes 3 is really an interesting and unbridled way to visualize 2D and 3D data quickly.

Oh, and if you are curious, Yanobox has been used on big-name projects from The Avengers to Rise of the Planet of the Apes — HUDs, FUIs and GUIs have been created using Yanobox Nodes.


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.

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.